Es schreit auch, wenn die Dass Bach oft weltliche Texte mit den gleichen Melodien Mutter nicht da ist. Himmlische Wonne! Die Kommunikation. Der traditionelle Produkt von Erfahrungen! Sollte sie nicht vielmehr die Divergenz eigentlich beide nicht ganz geheuer. Zwischen Inhalte und Formen werden erst durch seine Benutzung gene- riert — oder eben nicht. Beide Texte sind von eminenter Bedeutung, nicht zuletzt also und somit zum Beobachter des sich selbst beobachtenden Beobachters, ad ininitum.
Anders gesagt, zeichnen sie sich schen Diskursen und Praktiken seinen Niederschlag indet. Der hier beschriebene Kontext — und somit 1. Was auch immer geschehen mag: Was am 1. The Macy-Conferences — Kybernethik, Berlin Merve Das bedeutet, dass darin die Hierarchie zwischen Lehren- Systeme Verlag September D Bearbeitungsstand: April Bearbeitungsstand: 1. Februar Es gibt nur eine Kraft, diejenige, zu sehen und zu sagen, aufmerksam zu sein darauf, was man sieht und was man sagt. Man wird nicht sagen, dass man die Wissenschaft erworben hat, dass man die Wahrheit kennt oder dass man ein Genie geworden ist.
Aber man wird wissen, dass man auf intellektuellem Gebiet alles kann, was ein Mensch kann. Man muss haben, da, wo die Gleichheit anerkannt ist: nicht als per Gesetz oder durch Macht dekretierte genauer sagen, dass er die Intelligenz zweiteilt. Ist diese schimpliche Methode des Ratens nicht die wahre Bewegung der menschlichen Intelligenz, die ihre e i g e n e Macht in Besitz nimmt? Aber diese Unterwerfung besteht rein zwischen Wille und Wille.
Sie wird verdummend, wenn sie eine Intelligenz an eine andere Intelligenz bindet. Im Lehr- und Lernakt gibt es zwei Willen und zwei Intelligenzen. Und wer emanzipiert, hat sich nicht darum zu mann, Wien Passagen Er wird lernen, was er will, nichts vielleicht. Es handelt sich um eine Einheit bzw. Die Multitude, betonen wir es noch einmal, ist eine doch, und hier liegt der Unterschied, ist nicht mehr der Staat, sondern die Sprache, der Intel- ambivalente Seinsweise.
Der Grund besteht darin, dass mir eine dialogische Wissens- tionsresistente Menschen begeistert zeigen. Gelingende Kommunikation bekommt aus konstruktivistischer Sicht etwas hoch- verbergende Synthese zu zielen. Der Gestus der allumfassenden, tungen. Unter welchen Bedingungen stimmt es? In welcher Welt ist es relevant? Man relektiert die in- dividuellen Voreingenommenheiten und Ziele, holt sich die eigenen Leitunterscheidungen vor das innere Visier, erkennt die intern angelegten Konsequenzen jeweiliger Wirklichkeitswahrnehmung.
Eine Einleitung. Organisation, Management und Beratung, hrsg. Heidelberg Carl-Auer-Systeme. In: die tageszeitung 7. Berlin, S. Heidelberg Carl-Auer-Systeme , S. Darmstadt Wissenschaftliche Buchge- sellschaft , S. Kretzenbacher und Harald Weinrich. Entwurf einer systemischen Erziehung. In der Frage liegt bereits ein Teil der Antwort, der noch nicht beantwortete Teil soll im vorliegenden Text mit Blick auf die Konstitution des heutigen Kunstsystems folgen. Zumindest kann ein zu behaupten, das konstitutive Leitmotive, an denen sich die mismus einen klaren Gegner vor Augen.
Eine kontextuelle Relexion ist aber unent- ze, die ihre Handlungsfelder und Verbreitungsformen mit pro- meisten Opfer sind heute durch f r i e n d l y f i r e zu beklagen. Arbeiten ebenso wie von Bestandteilen des Diskurses.
Der verlorene Klang: Die Geschichte einer Leidenschaft at uwewefatymix.gq View all formats and editions of this title: From Germany to United Kingdom. uwewefatymix.gq: Der verlorene Klang () and a great selection of similar New, Used and Collectible View all copies of this ISBN edition: From Germany to U.S.A. Der verlorene Klang: Die Geschichte einer Leidenschaft.
Reproduktion der Institution ckeln. Weder das differenzielle Denk- und Gestaltungsformen. Einerseits bringt Kunstsystem ist wirklich autonom, noch seine Subsysteme. Doch diese Funktion hat sich in der heuti- gen Medien-Gesellschaft verwandelt. Alles, was im Kunstfeld sichtbar wird, ist in das System integriert. Kunstgewerbe zugerechnet. Die Kunst ist zum Spielball verdeckter Politiken geworden. Die Warnungen vor einer solchen Degeneration blieben allerdings keineswegs aus.
Zum Adjektiv verurteilt? Es sieht ganz danach aus.
Insoweit erweist sich die Kontin- vismus, jenseits von Faktur und Historie zu fassen versucht? Sind wir wirklich in diesem Dilemma gefangen: Kunst zu erwecken, deren Erleben einen nennenswerten Erfahrungszugewinn in Aussicht stellt. Eine Selbstdarstellung deutscher Kritiker, hrsg.
Die Radios haben irgend- schen Speichermedien sprechen. Das war Es war also nicht so, dass Er war auf Techniker angewiesen. Wie eine Musik hatte ich damals wirklich keine Ahnung. Ich bin erst im Schatzkammer oder das Paradies. Gleichzeitig habe ich gemerkt, dass es keinen Sinn ergibt, wenn ich den Studiorechner einmal Und da hast du immer noch Musik gemacht? Ich bin damals wegen der Punk-Bewegung nach Berlin gezogen. Deshalb habe ich Punk und New Wave.
Ich meine, ich habe als Kompositionsstudent dort meine Fach Komposition vorzubereiten. Aber das hat jetzt mit elek- intervallreihen suchen lassen, Suchalgorithmen entwickelt und tronischer Musik erst mal nichts zu tun. Ich Na, es begleitet diese Erfahrung ja immerhin. Der erste Kontakt mit elektronischer Musik war ein Seminar im habe damals auch gar nicht so viel elektronische Musik gemacht.
TU-Studio gleich zu Beginn meines Studiums. Irgendwann kam dann MIDI. Erst dann bin ich ins Studio gegangen und habe das dort pro- Es geht ja auch darum, wie sich der Horizont entwickelt. Die Sounds kamen von meinem billigen Roland-Teil. Ab Mitte der Neunzigerjahre bin ich nur Mundry mitgeschleppt habe, die in meinem Semester war. Folkmar Hein, der das Jetzt hast du ja ein eigenes Studio in Freiburg. Eigentlich mache ich meine Seite gestellt. Meistens reicht mir das auch, denn wenn es dort gut klingt, kann ich rela- Du wolltest dir vielleicht auch nichts sagen lassen.
Das klang sehr eigenartig und sehr fragil. Und irgendwann hatte ich dio leitet, muss man sich schon fragen lassen, wozu das da ist. Und ich inde das bis heute wichtig, Ich versuche mir gerade deinen Unterricht vorzustellen. Alle Im Prinzip ist es auch so.
Das Studio ist nur noch ein Raum? Was ist eigentlich heutzutage noch ein Studio? Ich habe mit Elektronik — zu erwarten. Es ist kein Produktionsstudio. Der Raum ist akustisch auch gar nicht gut aufbereitet, ich verstehe ihn zusam- Nono ist ein Paradebeispiel Form — abzuschaffen. Das ist die Achillesferse einer solchen Einrichtung. Damals, als es nicht anders ging, konnte ich es Distinktion schafft. Ich inde, auch aus kompositorischer Sicht, die Arbeit an der Software viel interessanter, als sich auf eine speziische Hardware zu ixieren.
Zugleich werden sie sich mit einigen bereits fest etablierten Ensembles wie Ictus, dem Arditti Quartett und ensemble recherche in einen engen Dialog begeben um von deren Erfahrungen zu proitieren sowie gemeinsame Projekte zu realisieren. Mentoren — Komponisten, Dirigenten und erfahrenen Ensemblemusikern — und anderen Ihre lexiblen Organisationsformen sowie ihre ebenso lexiblen Besetzungen mit hoch spezia- Ensembles zu arbeiten, Ergebnisse in offenen Proben vorzustellen und zu diskutieren.
Aus der Zusammensetzung der Instrumentalstipendiaten wurden drei cha- und Schreibweisen der Ensemblekomposition anzuregen. Wirkung entfalten kann. Bei den meisten Ensembles gibt es eine Kernbesetzung, die je nach Projekt durch weitere Mu- siker erweitert werden kann. Feste Besetzungskonventionen lassen sich bisher weder im Re- pertoire noch in der Zusammensetzung der Ensembles ausmachen. Dazu wird gesungen. Jahrhundert von Anfang an. Nicht alle ha- en zum kommunikativen Handeln beeinlussen hier die Formindung. Heute indet das orchestrale Titanentum u.
Jahrhunderts und beispielsweise Deutschland nach dem ersten Weltkrieg motiviert, bleibt an dieser Stelle offen. Bevor eine Stimme in diesem Sinne ein anarchisches Selbst wird, bedarf es in der Tat mehr als einer freien Besetzung: einer rafinierten Integration und Individuation. Die Schwierigkeit des positiven Nachwei- ses bedeutet jedoch nicht, dass Erpf und Scherchen Unrecht hatten. Magdeburgische Concert, Magdeburg , S.
Jahrhunderts in Nord- und Mitteleuropa, Kassel , S. Gesammelte Schriften, Bd.
Der Klang statischer oder schwebungsloser Intervalle wurde in einer Gesell- schaft bevorzugt, die vielleicht ebenfalls statisch bzw. Bedeutend ist, dass Stimmungsfragen scheinbar im- mer an Wendepunkten in der Musikkultur zum Vorschein kommen. Dieser Ansatz ist in manchen Aspekten Noch interessanter ist allerdings der Entwicklungsprozess, der den Pionierleistungen folgte. So gab es eine geradezu hegelianische Entwick- wendet.
Er stellte Stimmungen. Bei einer solchen harmonischen Herangehensweise gibt es drei Hauptfaktoren. In meiner Transkription von The Wayward verwende ich selbst- Entsprechungen in Ausschnitten der Obertonreihe zu inden. Infolgedessen analysierte ich den Tonality Diamond weiter und wandte verschiedene 62 63 Strategien an. Die Musik ist also in einer Schleife gefangen, bis die Tonleiter oder die Komposition sich wiederholt.
Bei den ersten Ferienkursen gab es sie auch nicht. Auch dass hellwache Studenten der Kurse wenige Jah- gut man konnte, oder man wandelte sich in Blitzesschnelle vom Saulus zum Paulus. Bei Stockhausen studieren, um sich letztendlich an den primitiven seriellen Techniken der Denken. Und wem noch die zu schwierig war, der entlastete sich kompositorischer Tugend empfohlen.
Auch daraus ist — bei seinen Nachfolgern — eine Traditi- 1 Wiewohl schon das zweite Jahr den Dozentenbestand mit Scherchen und Stucken- on entstanden. Gewiss nicht im Konzertpro- zile Studenten mit ihren Lehrmeinungen, die dann wieder in musikwissenschaftliche Seminare gramm, in dem wieder Orff und gar Egk vertreten sind und auch zweimal der Mussolini-Faschist hinausgetragen wurden, nicht in das Leben der Menschen oder zumindest von deren kulturellen Casella 2 vertreten war.
Einstieg, der mehr an die Abenteuer der italienischen Renaissance gemahnt. Wer Fetisch des Urknalls anzudichten. Was das Ei und was das Huhn war, wird nur der erhel- ihn. Aber ich habe tontechnik nun die Stunde Null gewesen sei? Wo selbst damals schon amerikanische Filmkompo- mich nicht.
Darum werden wir erst. Raus aus dem betriebsamen Ghetto und rauf auf das Seil. This institution has been setting the standard as a meeting than ever. We thus felt it was important to make the platform place for composers and performers since But this seeming plethora was our express intention. This reader collects the different themes, threads, and special ask them to include in their programs works not only by compos- The International Summer Courses for New Music remain a More than young people from 47 different nations come here projects of the Summer Course, and is not so much understood as ers that have had an impact upon their development but also point of convergence for rich creative exchanges, making them at the end of July for two weeks, to learn more about the music of a classic program booklet—commentary to individual works are pieces by course participants, in order to present the results at the one of the most important international forums for contempo- our, their own time, to exchange ideas, work together, learn, completely excluded—than as a source for information about end of the course period.
One hallmark of this musical network is the courage persent themselves, form networks, and jointly develop projects the many facets of the course. Whoever holds the reader in their An undertaking like the Darmstadt Summer Course can only and openness toward following new paths. The composition and performance workshops, the hand is presumably already in medias res, and so it could be help- succeed with a strong team of collaborators, which is why on The same will be true this year as well.
In addition, this the opinion of some, even more important—are the informality the Writing Workshop; and about Open Space B OT H A R E N E W backers of the 45th international Summer Course for New Music course will for the irst time be based on a new concept which, and spirit which course participants develop of their own accord.
As always, other more established ones are pursued as a matter of course, and ourselves: which elements played an important role in Darmstadt Laurentius, who has advised us from the get-go in many areas; stylistic diversity is the greatest asset. Of course I must New Music would not be what they are. Today we ask: which inally thank the entire team of tutors who through two weeks of tionally renowned information center for contemporary forms may only be fruitful at the second glance.
To a certain degree, we contexts of 50 years ago seemed so interesting to us that they could round-the-clock service help to ensure that this course will be a of music-making and an indispensable promoter and sponsor of would like to use the potential that course participants bring to still be discussed in the present day? As the seminar title, with its memorable experience for everyone.
It has also helped guarantee that the Summer Courses Darmstadt themselves, giving that potential a chance to unfold. That can only succeed, however, when many of them show initia- less concerned with reminiscence for its own sake, but to ask overstate our indebtedness to the city of Darmstadt, as well as the I wish the connoisseurs and pioneers of new music an inter- tive. The current program of the courses is the irst chance to Maderna considered in Are they still worth discussing? It hardly needs to be emphasized that ensemble- and chamber music represent two of the most important domains of contempo- rary composing.
Sound could allow TION. The creative approach thus begins gle element to act as the mere representation of another. The 1 Art is not a closed system; it is deined by constantly being in 4 The haptic quality of material: its nature comes about in most from a speciic perspective, and develops a transformation strate- meanings inscribed into sound events would become legible as motion.
Its motor is artistic work, which applies its forces to the cases through the context wherein it appears. Sugar in coffee tastes gy, a method of connecting materials, from there. The end result such through the compositional treatment, that is, they would status quo of the moment. Creation is no longer act subcutaneously, but rather be laid bare and trans- derstands these terms as meaning the conveyance and reception of dressing, and in many cases a dash of salt is what brings out the thus not just placing elements into a scene, accentuating their ap- formed into the realm of the possible.
Trying out what connotations titudes and inherent forces. This is where art differs from mere thought, and created. Yet a pedagogy that is in motion must en- the materials have in a familiar context, experiencing the way in design. Students bring present moment could mean. That which is perceived obtains a kind of magnetism torically formed and history-forming entity am I? A motion away from familiarity can only tion are essential to the learning process, but on the other hand through its treatment.
One can thus create a kind of skin or a succeed with proper relection. One retraces body-oriented choreographies, in order to expe- valuing all aspects of the chosen medium; testing ones sensory im- critically adopted perspectives have been set aside. This requires a something speciic in the material, and thereby re-deine its tools rience their inscribed patterns of meaning. The more sparring part- subjecting it and himself to transformation. Ideally, this leads to a movement and quality, the retraced bodily movement of sound composing individual.
To develop such an attitude, and not mere- ners are available in this discipline, the better. There cannot, after personalized compositional approach. Such an ethos would accept nothing as given, no sound thing else in art. The friction turns to persilage, a kind of meta-his- be recognized and rendered. Teaching ought to foster continuous self-relection and temporal dimension. An obligatory discussion of the no- sense of time into account.
When I adopt production. Instruments and their of sound, then an interpreter becomes that kind of collaborator. Who is expressing what? The composer his thoughts? His feel- 13 An attitude which regards hierarchic organization as obsolete, ings, the thoughts of others, a text? Or history? Is the composition itself speak- would be the foundation on which a relationship between the stu- music of serialism as expressionless and unemotional.
In fact, seri- ing? Is sound itself expressing something? There communication intended to encourage change cannot be organ- styles, stood for heightened expression, and made these its exclu- you. The same thing applies to your voice: it comes straight from is no such thing as THE musical expression.
The ways in which ized one-sidedly. In terms of its expressive qualities, then, the core of your heart. This Die- music attains meaning are as multifarious as music itself. What about the urge to write this exact piece and Here distinctions should be made according to a different criteri- the more powerfully expressive his presentation will be. Furthermore, this experience al- ing is strictly ignored: by remaining in the realm of technical- dantly in evidence, it is crucial to make art that at least attempts that these two categories cannot be neatly separated, and that re- lows me to make use of musical codes that are inscribed into the acoustic aspects of the sound and of form, questions of their mean- to contribute to basic epistemological research in the area of aes- course to historical topoi, for example, can also lead to new ex- western cultural consciousness and that are perpetuated through ing are circumvented or categorically denied.
Yet in their professional background, experience, or expectation, under- who simply want to feel validated in their artistic or intellectual The question of whether music is intentionally or uninten- order to bring about expression, not even the use of musical pat- stands that something is speaking to them. And in order to coun- credibility, when in fact the situation seems urgently to call for tionally expressive or non-expressive strikes me as a secondary terns is strictly compulsory. Imagine the chamber music hall of teract the aforementioned two tendencies, which essentially lead self-scrutiny, then a sharpening of ones sense for sensemaking problem; it is indeed likely that the serialists did not consider the Berlin Philharmonic: a string quartet is interpreting a serial to speechlessness, those who make, study, and produce music pro- ought to be the goal.
The performance venue exudes much ceremony fessionally must take on the task of investigating that which is expressionless. The musicians produce grand gestures. They are speaking, collect clues, uncover layers of meaning. Musical ex- dertaken in general terms, but only on a case-by-case basis, in the whether it automatically results in a fundamental dilution of the pression is a natural ingredient in the cultural process of senti- study of a single score, a single sonic idiom.
Listening is the per- original expressive potential of those means, ultimately leading— mentalization, powerfully inscribed into society. Not just indi- ception of meaning—but meaning that determines itself within almost always unintentionally—to a non-expressive music.
Con- vidual sounds or turns of phrase, which are, after all, stylized ver- an unmeasurable landscape of expression, or in the expressive fab- versely, a deliberate avoidance of expression or the creation of a sions of human utterances, bear an emphatic charge. The very ric of the here and now. Genuinely working through con- istics. Here, the use of text pro- ment on Musik and Language; the reference to the 16 deleted words tion. Research by Holodynski and Friedlmeier reported in the vides an opportunity to cross the borderline of the purely musical. The conlict every day from 9 a.
Bliss and heaven! Should it not rather emphasize their divergence, lent images while playing Beethoven created within him a con- ously constitute the catalyst and the d e s i d e r a t u m: a catalyst found structure that precedes and follows it; the pregnant pauses and highlight their non-identity through the interplay of expres- lict that was tantamount to torture. The traditional approach to mu- that is absent from a given environment and more or less urgently etz—these all form a little collection of randomly chosen edge means favoring those that tend towards divergence.
The distances found within it are the listener. Even we were to isolate the properties of music from musical experi- rhythm. The distances are simply smaller. Expression is er hand, if we fully embrace emotivism, we are also faced with its to a latent Darmstadt desideratum. Music is an incredibly broad mani- The paradox inherent in the project lies in the fact that, apart of art results from PA S T experiences!
Is it impor- F U R T. In music, the in its content and form. Its content and forms will only be gener- tant TO M E? In this sense one can list What do I ind impressive? It cannot be denied that music does indeed trans- varied S O N I C results or lend presence to their absence. Ultimately, structs than on direct experience. The com- very likely remain with more than one answer. Despite its openness, which speciically emphasizes potentiality, and the accompanying, socially indispensable emotional control.
Only for an infant do hunger and crying, a feeling and its ex- might not be even aware that he wants to express anything at all. It is no longer identi- is capable of expressing something all on its own. This dynamic is based on non-linear hierarchies and a free co- complexity are likewise born from within themselves.
P2P practices mani- ized systems I shall quote from a medium that, as a user-generated The theoretical and practical exploration of the self-organiza- speak, of the philosophical, scientiic, artistic, political, social and fest themselves primarily in three social processes: 27 p e e r p r o - encyclopedia, is itself the result of self-organized editorial proc- tion phenomenon is involuntarily confronted with the both fun- educational concepts and practices outlined here.
To give the project a di- authorship. Breaking open the classical subject-object rela- rection in keeping with its initial conceptual considerations, a political networks enabled by Internet technology. The effects of this per- action described here. Whether in ecology, mathe- and presentations that will be announced in due time.
It will therefore be examined more closely 4. But, whatever happens, the Multitude by Paolo Virno. Five lessons in intellectual emancipation constitute a possible philo- cerns of cybernetics after the Second World War, 4 and underwent understanding of the properties of complex systems as self-organ- sophical foundation for a different way of thinking about train- differentiation and expansion via the systems theory of the s izing phenomena. In other words, they are characterized by a ing, education and self-education.
Being highly context-dependent, self-organiza- of the individual in a complex systemic context, and to draw Principles of self-organization will be applied in the operative tion as a thought model becomes both the point of departure and proactive conclusions from this. Looking at chemo-physical, bio- handling of the eight spaces in the Mornewegschule: all resour- the goal of very different projects and initiatives.
The con- activities that take place within it. The concept is at the es. Information and marginal assistance center of a wide-branched formation of theories that attempts de- tive, non-school models for learning and training based on and about organization itself: about the way we organize ourselves, are offered, but the organization, announcement and realization scriptively to do justice the properties of complex systems. As a geared towards the self-motivation, self-determination and self- our discourses, our activities and our surroundings. But o r g a n - of activities is exclusively the responsibility of the respective ini- central term in systems theory, self-organization refers to the de- empowerment of the individual.
There is only one power, that of saying and speaking, of paying attention to what one sees and says. So the logic of explication calls for the principle of a regression ad One learns sentences and more sentences; one discovers facts, that ininitum: there is no reason for the redoubling of reasoning ever is, relations between things, and still other relations that are all of to stop. This means that the hierarchy a foundation is simply that the explicator is the sole judge of the ideas. It will not be said that one has acquired science, that one between teachers and learners does not exist within it.
He is the sole judge knows truth or has become a genius. The revelation that came to Joseph Jacotot amounts to this: of power. Explica- combination of ideas. Will is the power to be moved, to act by its tion is not necessary to remedy an incapacity to understand. On o w n movement, before being an instance of choice. Richard Steurer, of the explicative conception of the world. Alexandra Margarete Freund, Marc-Thorsten constitutes the incapable as such.
By the will we mean that self-relection by the tion of this wonderful online library, or the foundation of a similar one. Before being the act of the pedagogue, explication is the reasonable being who knows himself in the act. It says that there is an infe- We can thus dream of a society of the emancipated that would www.
Mette Ingvartsen and Belgrad www. The former registers percep- be a society of artists. Such a society would repudiate the division Alice Chauchat. Siegfried J. Die System in Art s-o-s project November ; and No. In: Kybernethik Berlin: Merve, For an Analysis the simple to the complex, from the part to the whole. Interna- adapting it to the intellectual capacities of the student and allows in everyone. August bis 4. She finally finds one in New York City, buys it, has it shipped to Missoula, then doesn't like the way it sounds.
It's not the piano she "fell in love with. I can't even remember how many chapters she devoted to the different types of hammers and how they can be voiced. And the chapters on anthroposophism and physics and metaphysics were way, way too deep. I did learn a lot about pianos, but it was way more than I ever wanted or needed to know.
And I still like my cheap baby grand made in Indonesia the author would have a heart attack if she heard the tone on my baby grand. Oct 08, Chrishna rated it really liked it. I loved reading this book! The author had always wanted to take piano lessons as a child and she does so as an adult. She then goes on a search for a piano for her home and she learns, and teaches the reader, so many things about the art of piano making, the art of listening to music and the importance of music in one's life. I saw her at a reading at Portland Pianos and it was delightful to listen to her speak, play the piano and give advice.
And if you email her, she'll email back! Jul 29, Jan rated it really liked it. I loved approximately half of this book. Perri decides to take up piano again and in the process sets out to find "her" piano. However, when the piano arrives in her Montana home it doesn't sound the same. She becomes obsessed with finding out where her sound went, why the sound touched her so much, and how she can get it back.
I really loved the beginning of her obses I loved approximately half of this book. I really loved the beginning of her obsession, so much so that it made me want to take up the piano again too. But her obsession went a little too far for me when her journey took a spiritual turn.
This spiritual turn involved every spiritual feeling except the existence of God, which bothered me. But I'm still practicing the piano! Jan 09, Bill rated it really liked it Shelves: non-fiction. A while ago, I was looking for a book that would help me understand some of my own feelings about music, the way particular songs, harmonies, syncopations, timbres will resonate powerfully and draw me in. I read Sacks book on Musicophelia which turned out not to be what I was looking for at all.
Then a friend shared Grand Obsession with me. Though my particular musical obsession is not the same as Knize's, the elements of her journey to connect with playing the piano and find the one that sounds A while ago, I was looking for a book that would help me understand some of my own feelings about music, the way particular songs, harmonies, syncopations, timbres will resonate powerfully and draw me in. Though my particular musical obsession is not the same as Knize's, the elements of her journey to connect with playing the piano and find the one that sounds "right", that is compelling, is completely recognizable to me.
I'm glad she opened up so honestly and shared her experience with the rest of us. Dec 30, R Fontaine rated it really liked it Shelves: non-fiction. Alas,during shipping it takes a fall and splinters the keyboard. Thus starts another quest to repair or replace. Great read about how pianos are made and maintained. The writer might feel too obnoxious to some readers I think, but hey, it's a book about obsession, she's just looking for ways to restore the tone of her piano as it was when she fell in love with it. The esoteric chapter was a bit too much for me but it still made me seek out La Monte Young's work , but other than that, a great read for anyone who loves pianos.
Dec 20, Alison Sweetser rated it it was amazing. Grand Obsession is an engaging, beautifully written memoir of the author's love of music and her search for her perfect piano.
Along the way, she meets fascinating characters - some quirky, some mystical, and almost all highly accomplished and dedicated to their field, be it playing music, tuning instruments or making them. The breadth and depth of her exploration fascinated me and kept me fully engaged: a good read. Jul 08, Joey rated it really liked it. It was a great book. I learned so much about what goes into selecting a piano. This book was very interesting but it got a bit technical and boring sometimes. Overall a really good read if you want to know why people love their piano's so much. Apr 09, Thorn rated it liked it Shelves: kindle-edition.
Dec 13, Megan rated it liked it. Perri Knize's goal is to bring back to life the voice she heard on her Grotrian-Steinweg piano that she first heard in the showroom she purchased it from and back to life in her home--the home she re-financed to purchase her piano. As an adult student learning how to play the piano, I was able to relate to Knize's trepidation about pursuing a long, unfulfilled passion at an older age. Unlike Knize, however, I cannot play by ear. I really liked this book since the author so clearly loves the pian Perri Knize's goal is to bring back to life the voice she heard on her Grotrian-Steinweg piano that she first heard in the showroom she purchased it from and back to life in her home--the home she re-financed to purchase her piano.
I really liked this book since the author so clearly loves the piano and goes to extreme lengths to research and travel the world to find out as much as she can about her piano and its lost voice enroute to her home. She researches the piano industry, its growing popularity, the factories where they are born and the forests from which they come from.
She has exposed an interesting online forum called "Piano World," that I have yet to explore fully--they have an "Adult Beginner's" forum! Here are a few of my favorite quotes: ".. The sensation of forging new neural pathways in my brain, of entrainment in the present moment, of the integration of my whole being from the physical to the spiritual is so consuming, so deliciously, deeply gratifying, it begins to feel like an addition.
You find out about your expectations, your patience, your optimism or lack of it. It's character building.
What business do we have taking up the piano at our age? What a joke we are! To begin piano lessons as an adult is an act of courage. Aug 18, Beth rated it liked it Recommends it for: piano lovers. Shelves: nonfiction. Well, forever for me anyway. I really enjoyed the story and Knize's writing style, but I was a bit ambivalent about the whole premise of the story. On the one hand, I can appreciate one person's quest to find the perfect piano given my love for this beautiful instrument; on the other hand, this woman's grand obsession got a bit tedious at times.
I couldn't understand how she could be so obsessed with the sound of the piano, but for me I would just be happy to own a grand piano. I'm not all that particular about the sound of it as long as it's in tune. How anyone could be turned off from these pianos is beyond me. The only reason for giving this book three stars instead of two is because the first part of the book was what kept me reading.
I enjoyed her quest to find her perfect piano and the relationships she developed with the people at Beethoven's Pianos - I especially loved Carl - but after about midway through her obsessive quest to bring her beloved piano's perfect sound I just became a bit exasperated. Then again, I'm coming from the perspective of someone who would be happy just to own a grand piano. Unless the sound was clangy and tinny, I honestly wouldn't be that picky about it.
So to see this woman go on and on about her piano's color and brightness, yadayada, was just a bit off putting at times.
May 02, Jenny Mckeel rated it did not like it. This memoir explores one woman's return to her passion for piano playing. The first section of the book in which she explores her relationship to music and to the piano is great. Most of the memoir, however, is a scientific exploration of sound technology. After the narrator spends a huge sum of a money on her dream piano -- a rare German grand -- that she spent two years searching for, she learns that a piano's sound is not static; it constantly evolves.
The tone that she initially fell in love This memoir explores one woman's return to her passion for piano playing. The tone that she initially fell in love with is gone a few days after the piano is delivered. So she embarks on a journey to understand the technology and production of piano sound and she learns about tuning, hammers, voicing, vibration and the physical construction of pianos and how each aspect of piano production plays a part in creating the elusive sound of each piano -- that is constantly in flux. She also gets to know technicians, builders, composers, designers, etc.
So really the memoir is more of a scientific exploration and inquiry into the nature of music and sound. I found it very dull, as I am not compelled by the basic scientific exploration that was the core of her creative project. I also felt that the characters were flat and not very developed. I think you would have to be pulled into this memoir by the ideas and the science-y stuff and the questions about sound.
I didn't feel that the human interest part of this memoir was developed enough. I think it would mostly appeal to people who are piano freaks and who are fascinated by how pianos are made how sound is produced Jun 05, Selma rated it really liked it Recommends it for: accomplished pianists, piano technicians. Shelves: nonfictionmemoir. This is mainly of interest to those knowledgeable about music, and specifically pianos.
As a pianist, I found it compelling, but the layer of metaphysical and general discussion that arises from the very idiosyncratic quest described by the author is banal in comparison to the specifics of the situation. Knize is fixated on an unusual type of piano, the German-made Grotrian, and recounts her manic search for her special piano, and then her profound disappointment when the piano's sound seems to This is mainly of interest to those knowledgeable about music, and specifically pianos.
Knize is fixated on an unusual type of piano, the German-made Grotrian, and recounts her manic search for her special piano, and then her profound disappointment when the piano's sound seems to have gone horribly wrong after it's shipped from the NYC dealer to her home in Montana, in extensive detail. Knize has a gift for translating technical information about the construction of musical instruments and the physics of their sound production and tuning. This sort of reading, though, is not for everyone. At first I had some trouble comprehending why a pianist of Knize's limited experience would want an instrument like a Grotrian.
After a while I realized that this wasn't the point--the book is about a highly rarefied obsession in its many ramifications. In the end I found the story compelling, mainly because Knize comes across as a person of integrity rather than as an obsessional nut. Nonetheless, I can't imagine many people without knowledge of music or pianos enjoying the book. Nov 06, Emma rated it it was amazing.
I was totally immersed in this story of midlife obsession Along the way she begins to shop for the perfect piano--she travels all over listening and playing pianos in every showroom. When she finds her piano it has to travel across the country to be delivered at her home and it arrives not sounding at all like it sounded in the store. The quest for the piano, suddenly becomes I was totally immersed in this story of midlife obsession The quest for the piano, suddenly becomes the quest for understanding what happened to her beloved instrument and how to recover the voice she fell in love with.
There is so much in this writing about music and its impact on our emotions, about persistence, about There is also a great amount of technical information about the art and craft involved in building a piano and tuning and voicing a piano that surprisingly, I found utterly fascinating. Anyone who loves music or plays an instrument should experience this lovely story!! Mar 14, Sheldon rated it it was amazing. Absolutely wonderful. I am studying guitar and piano, and have a basic understanding of the physics of sound.
All together, I can totally relate! The author heard a wonderful piano in the store, but when delivered to her home it sounded awful! The book goes on to describe her efforts to get back "HER piano", the magnificent instrument she heard in the store. For those who do not know, no two pianos will sound alike, even two Steinways, same model, produced one after the other. The wood, the soundb Absolutely wonderful. The wood, the soundboard, the craftsmanship. Even modern manufacturing techniques cannot produce two instruments that sound exactly alike. Add on top of that the strings and the tuning, oh yes, the tuning!
Did you know there is NOT a single tuning for piano or any instrument for that matter. Western society has sort of agreed to focus on one tuning, but the possibilities abound. Perri Knize has written a wonderful book. And YES, the tuner matters as well!!! May 24, Elizabeth Rowe rated it really liked it Shelves: Purchasing an instrument is such a personal decision no matter what you play. I know trumpet and tuba players that have gone through the same ordeal trying to find the perfect instrument for their needs.
I was able to feel the stress Perri went through in searching for the perfect piano, the relief when she actually heard it, and the he WARNING: Do NOT read this book if you don't love and respect music I thought this was a great story about the connection that a musician has to their instrument.
I was able to feel the stress Perri went through in searching for the perfect piano, the relief when she actually heard it, and the heart break when she couldn't hear it anymore. I loved the metaphysical parts of the book because they spoke to something I believe wholly, that music can be so deeply ingrained in someone's body and soul that they respond to it in amazing ways. I did think the extremely detailed parts of her sojourning through her piano's creation were a bit much, and I skipped through some of the more technical parts. But as a musician, I'm glad to have found a book like this.
Nov 12, Cynthia rated it really liked it.
Mike kept asking, "How do you read a pg. There were great real-life characters, like Marc the "voicer" piano technician , and Carl, the German piano rebuilder and owner of Beethoven Pianos in New York who basically built up a piano empire in spite of the fact that he is not a very busin Mike kept asking, "How do you read a pg. There were great real-life characters, like Marc the "voicer" piano technician , and Carl, the German piano rebuilder and owner of Beethoven Pianos in New York who basically built up a piano empire in spite of the fact that he is not a very business savvy businessman.
It also inspired me to play the piano a little bit more, listen to music a little more closely, and appreciate the vibrations of life that move us in inexplicable ways. Thank you Chris Sanders for the recommendation! Jul 07, Hollis Fishelson-holstine rated it really liked it Shelves: non-fiction. I thoroughly enjoyed this, although likely because I play piano. In fact, it really inspired me to start playing again on a different level.
It's the story of a woman who decides to play piano again as an adult. She has an amazing ear, the result of a musician father who trained her to listen from an early age. In her quest for the perfect piano to buy, she finds it, only to discover how ethereal that perfect sound is. The book is her quest to 'return the piano to itself' and she learns a lot ab I thoroughly enjoyed this, although likely because I play piano.
The book is her quest to 'return the piano to itself' and she learns a lot about the making of pianos in the process. My piano tuner was thoroughly offended by the book, because he felt she denigrated people in the industry he knows to be excellent, but for me it was great. This book was magnificent. Perri Knize goes into intense detail when she describes a piano and describes everything about it beautifully. She crazily travels all over the world to try and discover her piano's origins and how its sound is manufactured..
A sound she fell in love with in Beethoven's Piano store in New York. She has this way of telling her story that makes you feel everything she is feeling and you just want her to find her piano's sound! This book is an awesome example of not settl This book was magnificent. This book is an awesome example of not settling with what you're given, it's about that small, tiny flicker of hope in the distance and the journey you're willing to make to get to your destination- your perfect piano.
Oct 08, Dgfletch rated it really liked it. The conductor of a chorus I sing in, handed me Grand Obsession and told me I'd love it. He had just finished and had been enthralled. Since he is the smartest, interestingest and most musical person one would ever want to meet, I read it. I was captivated by some coincidences - the author found her perfect piano at the same store and at about the same time I found mine which, alas, I coudn't afford. Her favorite piano sound on CD is the one I've always treasured as the best recorded piano I The conductor of a chorus I sing in, handed me Grand Obsession and told me I'd love it.
So it is hard to know if anyone not a little demented about pianos would like the book. I found it captivating and moving. Dec 29, Alvin rated it liked it. Grand obsession is a good read on how pianos are made, and a little bit about the network of characters from manufacturer to consumer. Its also a read about someone with a good ear, who can hear things most people would ignore.
However a fair chunk is self indulgent hand wringing of some woman with the luxury of affording a piano wanting to have an instrument that suits her golden ears. There's also a whole chapter on the metaphysics of sound and string theory that should have been omitted as Grand obsession is a good read on how pianos are made, and a little bit about the network of characters from manufacturer to consumer.
There's also a whole chapter on the metaphysics of sound and string theory that should have been omitted as new age pablum. May 16, Lcitera rated it it was ok. I gave up on this book with 75 pages remaining, tired of forcing myself to read continuously of the author's endless search for the perfect piano and then the perfect tuning and voicing of the instrument. Oh, the angst of it all. I am familiar with Piano Row in NYC and with Beethoven Pianos which served as a sort of psychiatric center for the frustrations the author inflicted upon herself.
Was her piano ever tuned to her imagined standard? I will never know and do not care! Sep 19, Mereke rated it liked it. An account only a pianist could love. I found learning about the process of making a piano and then creating a unique sound for it through voicing and tuning very interesting and perhaps even helpful to me in my own quest to someday take up the piano again as an adult after leaving it behind for many years.
But a lot of the other more personal stuff related to the author was boring and made the book too long. On the whole, a good but not great read if you're interested in classical piano. Readers also enjoyed. About Perri Knize. Perri Knize. Books by Perri Knize. Trivia About Grand Obsession No trivia or quizzes yet. Welcome back. Just a moment while we sign you in to your Goodreads account.