![\"Terra](\"https:\/\/www.gruenrekorder.de\/Photos\/terra_prosodia_cover.jpg\" "\\"Terra")
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Terra Prosodia | Antje Vowinckel<\/a><\/strong> <\/p>\n Sound composition with dialects and disappearing languages from Europe <\/p>\n 1. Rumansch <\/p>\n Excerpts<\/em>: <\/p>\n 8 Tracks (33\u203246\u2033) <\/p>\n Currently about 6000 languages are spoken on the world. Most of them will disappear soon \u2013 and together with them a meldodic richness of human expressivness. However, the fact, that dialects and disappearing languages are only spoken by a few people has one advantage: only if one does not understand the contents it is possible to really listen tot he sound, saying\u00a0 far away from their homeland these languages unfold their musical enchantment (charme?).\u00a0 What you find are melodies that nobody invented (conceived of?). They arise in the process of impulsive speaking, on the grounds of oral tradition. Landscapes seem to continue there with\u00a0 melodic heights and valleys. Often single sentences remain in our heads as catchy tunes. <\/p>\n In the compositions the contents of these stories do not matter any longer.\u00a0The pieces focus on the melodies in the dialects and add\u00a0 second instrumental or humed melodic voice. By this also the melody of the speaking voice is underlined. In the beginning the second voice will imitate the speaking voice, later becomes indpendent and follows own directions. As soon as the focus of perception is on the melody, you can listen to both lines as independent voices. <\/p>\n <\/a>Text by Christina Kubisch<\/strong> <\/p>\nngg_shortcode_1_placeholder\n <\/p>\n <\/p>\n <\/p>\n Production: WDR Studio Akustische Kunst 2011 <\/p>\n Sound Art Series by Gruenrekorder <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n Stefan Rois | Radio FRO 105,0<\/a><\/strong> <\/p>\n Hermetische Sch\u00f6nheit <\/p>\n freiStil \u2013 Magazin f\u00fcr Musik und Umgebung | #55<\/strong><\/a> <\/p>\n Im Mittelpunkt dieser Arbeit steht die menschliche Sprache. Allerdings versteht man kaum ein Wort. Es sei denn, man ist des Gaskonischen m\u00e4chtig und spricht obendrein Gutnisch, Provenzalisch und Rumantsch. Der Rezensent etwa konnte vereinzelte Brocken des schottisch-g\u00e4lischen Beitrags begreifen und lediglich die Geschichte, die in Walliserdeutsch gehalten ist, tats\u00e4chlich zusammenh\u00e4ngend erfassen. Antje Vowinckel hat Menschen in Schweden, Frankreich, Schottland und in der Schweiz besucht und sie gebeten, eine pers\u00f6nliche Geschichte zu erz\u00e4hlen. Entstanden ist ein Dokument von Minderheitensprachen und vom Aussterben bedrohten Dialekten. Doch Terra Prosadia ist viel mehr als nur das. Gerade durch die weitgehende Unzug\u00e4nglichkeit des Inhalts wird man auf Intonation, Rhythmik und Melodief\u00fchrung \u2013 die Prosadien eben \u2013 zur\u00fcckgeworfen. So wird Stimme zu dem Instrument, das es immer schon gewesen ist. Und um dieses noch eindr\u00fccklicher zum Klingen zu bringen, hat Antje Vowinckel die Vocals nicht blo\u00df portioniert, umgestellt und dezent effektiert, sondern sie auch mit Sounds unterlegt \u2013 Basslauf, E-Orgel, Summen, das Schwirren eines Pfeiles. Sie doppeln das Sprachmaterial perkussiv und melodisch, ahmen es nach, tragen es weiter, konterkarieren es. Leben ist Improvisation. Sprache ist Free Jazz. Terra Posadia ist aus einer herzerfrischenden Idee erwachsen, \u00fcberzeugt \u00e4sthetisch auf ganzer Linie und \u00f6ffnet zudem Raum f\u00fcr konzeptuelle und letztlich politische Fragen. Mehr ist nicht zu sagen. (steroid)<\/p>\n <\/p>\n \u0141ukasz Kom\u0142a | polyphonia.pl<\/a><\/strong> <\/p>\n Antje Vowinckel jest artystk\u0105 pochodz\u0105c\u0105 z Berlina. Studiowa\u0142a literatur\u0119 i muzyk\u0119 (flet\/ fortepian). Od samego pocz\u0105tku jej dzia\u0142alno\u015b\u0107 zwi\u0105zana jest z radiem. Na swoim koncie ma mn\u00f3stwo produkcji radiowych przygotowanych dla takich stacji jak WDR, SWR i BR. Swoje prace prezentowa\u0142a ju\u017c na wielu europejskich festiwalach. W kr\u0119gu zainteresowa\u0107 Vowinckel jest te\u017c muzyka elektroakustyczna i sound art, ze szczeg\u00f3lnym uwzgl\u0119dnieniem muzykalno\u015bci s\u0142owa m\u00f3wionego, gdzie podstawowa melodia p\u0142ynie z dialektu. Niemiecka artystka zajmuje si\u0119 r\u00f3wnie\u017c tworzeniem instalacji d\u017awi\u0119kowych i kompozycji audiowizualnych.<\/p>\n <\/p>\n Obecnie na \u015bwiecie u\u017cywa si\u0119 ok. 6-7 tysi\u0119cy j\u0119zyk\u00f3w i prawdopodobnie wi\u0119kszo\u015b\u0107 z nich po prostu kiedy\u015b zniknie, przez co odejdzie te\u017c ca\u0142e bogactwo ludzkiej ekspresji. Jednak wykorzystanie d\u017awi\u0119czno\u015bci s\u0142owa m\u00f3wionego w sztuce (jak robi to Antje Vowinckel ) ma swoj\u0105 wa\u017cn\u0105 cech\u0119, a mianowicie: musi by\u0107 totaln\u0105 abstrakcj\u0105 d\u017awi\u0119kow\u0105 dla naszego ucha. Dopiero wtedy mo\u017cemy tak naprawd\u0119 skupi\u0107 swoj\u0105 uwag\u0119 na jego melodii, brzmieniu i poszczeg\u00f3lnych interwa\u0142ach. Niedawno wydany album Vowinckel \u2013 \u201eTerra Prosodia\u201d zosta\u0142 wype\u0142niony dialektami pochodz\u0105cymi z r\u00f3\u017cnych j\u0119zyk\u00f3w europejskich. Artystka odwiedza\u0142a kilka pa\u0144stw, gdzie zarejestrowa\u0142a rozmowy, aby je p\u00f3\u017aniej ju\u017c w warunkach studyjnych ob\u0142o\u017cy\u0107 warstw\u0105 elektroakustycznych eksperyment\u00f3w.<\/p>\n <\/p>\n W poszczeg\u00f3lnych kompozycjach na \u201eTerra Prosodia\u201d rozm\u00f3wcy Vowinckel opowiadaj\u0105 raczej o przyziemnych sprawach, takich jak burze, wycieczki, wypadki i tym podobne. Na p\u0142ycie mo\u017cemy us\u0142ysze\u0107 kilka dialekt\u00f3w: Rumansch \u2013 j\u0119zyk retoroma\u0144ski, kt\u00f3ry wyst\u0119puje w po\u0142udniowo-wschodniej Szwajcarii, Gutamal \u2013 Gotlandia, Proven\u00e7al \u2013 po\u0142udniowo-wschodnia Francja, Wallis-Deutsch \u2013 Szwajcaria kanton Valais, Gascon \u2013 Francja i Hiszpania, Scottish-Gaelic \u2013 Szkocja.<\/p>\n <\/p>\n Ka\u017cdy z powy\u017cszych dialekt\u00f3w wyr\u00f3\u017cnia si\u0119 charakterystyczn\u0105 melodi\u0105 o niezwyk\u0142ym ubarwieniu. W momencie, kiedy spotykamy si\u0119 z kompletnie nieznanym j\u0119zykiem nasz m\u00f3zg rejestruje tylko pewne figury. Ca\u0142y ten proces przypomina po cz\u0119\u015bci wej\u015bcie do jaskini wype\u0142nionej stalagmitami i stalaktytami. Nasze oko zapami\u0119tuje typowy kszta\u0142t i og\u00f3lne wra\u017cenie, a nie skupia si\u0119 na szczeg\u00f3\u0142ach.<\/p>\n <\/p>\n \u201eTerra Prosodia\u201d to p\u0142yta wywa\u017cona i starannie r\u00f3wnowa\u017c\u0105ca sound art, nagrania terenowe z d\u017awi\u0119kow\u0105 opowie\u015bci\u0105 (z elementami sound poetry ) zanurzon\u0105 w elektroakustycznych eksperymentach. Vowinckel w spos\u00f3b doskona\u0142y po\u0142\u0105czy\u0142a j\u0119zyk m\u00f3wiony z warstw\u0105 muzyczn\u0105. Artystce uda\u0142o si\u0119 pokaza\u0107, \u017ce jest uzdolnion\u0105 kompozytork\u0105, potrafi\u0105c\u0105 zainteresowa\u0107 swoim konceptualnym my\u015bleniem. Zapewniam, \u017ce przy ka\u017cdym kontakcie z albumem \u201eTerra Prosodia\u201d wasze ucho b\u0119dzie mia\u0142o co robi\u0107. <\/p>\n The Wire Magazine \u2013 Issue 364<\/a><\/strong> <\/p>\n Idwal Fisher | IDWAL FISHER<\/a><\/strong> <\/p>\n I love languages. I may not speak some of the European ones very well but I like to have a go when given the opportunity. And when the that fails there\u2019s always finger pointing and sign language. Its all part of the fun and you usually get there in the end. Its not like I\u2019m involved in foreign diplomacy here, I\u2019m usually trying to buy a meal or get a bus somewhere. Travels abroad used to be a lesson in how much schoolboy French you could remember but now that everyone speaks English its less of a thrill. When working abroad in the 90\u2019s I did have to resort to ordering food in rural Chinese restaurants by pointing at several items on a menu covered in characters I couldn\u2019t understand hoping that some of it would be edible, but by adding the Chinese word for beer, I at least got a drink. Some of the food turned out to be pretty good too.<\/p>\n <\/p>\n Languages continue to die out as the world shrinks ever smaller. I read recently that the Danes are worried that their children now find Danish harder to learn than English. The single commonplace French language is also a fairly modern concept after the 17th century French government of the day realised that a nation that didn\u2019t speak a common tongue was virtually ungovernable and deliberately eradicated numerous local tongues. The list of extinct European languages alone runs into the dozens.<\/p>\n <\/p>\n Antje Vowinckel\u2019s release Terra Prosodia collects several European languages that are in danger of dying out so that we can hear what they sound like ourselves; Romansch, Gutamal, Wallis-Deutsch and a couple of obscure \u2018French\u2019 examples are reproduced for our edification. Its an educational undertaking and one of which I wholeheartedly approve. If only it stopped there. By adding pointless bits of noodling electronica to these voices [twanging rulers anyone?] Vowinckel [a sound artist] actually detracts from them. I obviously don\u2019t understand what the speakers are saying but I\u2019d like to hear what they do have to say without a cat taking a walk along a synth. I\u2019m at a loss as to why anyone would think this would be a good idea at all. <\/p>\n Brian Olewnick | Just outside<\/a><\/strong> <\/p>\n The spoken words are indeed fascinating to hear and, at least to this English speaker (presumably to a German as well), hold a good deal of content that one thinks of as musical. I found myself wondering how\/if this perception might vary depending on one’s native tongue. Part of me, admittedly, might rather have heard these words unadorned but Vowinckel’s additions are usually quite complementary and well-considered. The sounds, all electronic (save for, per the notes, some „hummed melodic voice“ that is heard on the final track) take on, at different times, the character of percussion, low strings, sine-like tones. Once, I was reminded very much of a doussn’gouni but on another, unfortunately, Keith Emerson at the helm of a Moog. As intended, it’s not hard to hear both elements as melodic lines and that’s where the real interest is. For example, the elderly male speaking Gutamal in the second track can almost be heard as a kind of bass clarinet, mixing beautifully with, in this case, a range of percussive, breath-like and rattling sounds. The youngster (hard to tell if it’s a boy or girl) speaking Proven\u00e7al has a wonderful flute-like quality, winding through light tapping that echoes the voice’s rhythm and pitch. Throughout, with an arguable misstep now and then, it’s an absorbing listen, part anthropology, part appreciation of the very sensual nature of the voices. <\/p>\n Martin P | Musique Machine<\/a><\/strong> <\/p>\n Vowinckel\u2019s notes inform us that her intentions are to present the spoken words as pure, melodic sound, deliberately stripped of context and connotation. These words are seldom interfered with; sometimes they are looped or stuttered, moved around the sound-field, but ostensibly they are presented bare. Instead, Vowinckel accompanies each \u2018short spontaneous story\u2019 with cryptic sound elements; which she describes as being inspired by and tied to the speech, but independent. At this point, I need to abandon my measured words, and just cut to the quick: this might be the most baffling album I\u2019ve heard for a long time. The minimal accompaniments to the monologues are frankly brain-halting – and not in a good way. They could be largely, and cruelly, described as \u2018a toddler with a casio\u2019. I\u2019m aware that that\u2019s very harsh, but it hopefully gives a sense of what\u2019s going on. They often sound like some kind of atonal, arhythmic \u2018fake jazz\u2019 backing; shadowing the voice or engaging in call-and-response routines. If this wasn\u2019t enough, these – almost parodic – backings are conducted using the worst sounds possible: either casio presets or sounds very akin to them. This reaches a zenith of hell on the seventh piece, \u2018Gutamal\u2019, which pairs a female voice with a galloping double bass, and a brass\/woodwind keyboard sound (begins shouting) set to portamento. Portamento. It sounds absurd. There are other, more colourful, elements (percussive ruler twangs, humming), but literally nothing which doesn\u2019t arouse bafflement or sad laughter. I do believe its one of the worst things I\u2019ve ever heard.<\/p>\n <\/p>\n At the risk of sounding snooty, I\u2019m very sure that Vowinckel is doing something very \u2018clever\u2019 here – most likely analysing the dialects in terms of rhythms and melodic intervals (etc) and then constructing sympathetic accompaniments. (This would account for the distinct amusicality of much of it.) But, regardless of the merits of this approach or idea, the simple fact is that the sounds chosen are just awful – or rather, they carry awkward baggage which can only evoke a response of laughter or confusion. Interestingly, Kubisch\u2019s notes refer to a \u2018subtle and profound humor\u2019 in the album, which really just raises even more questions: is \u2018Terra Prosodia\u2019 meant to be funny? Is the actual sound of people speaking funny? Exaggerated personal speech quirks can certainly be amusing, but: really\u2026?<\/p>\n <\/p>\n I mentioned the shiny digipak in my first sentence of this review, and that\u2019s somewhat important. If this had been given to me on a blank cdr, with the message, \u2018You have to hear this – its crazy!\u2019, I think i would have \u2018enjoyed\u2019 it – then filed it under \u2018Cool Outsider Stuff – to be listened to about once every two years\u2019. But the album is presented with all the trappings of high art – sombre liner notes, a scientific \u2018angle\u2019, and artwork that evokes old electroacoustic\/tape albums; it provokes a slightly different response. The base response for both \u2018versions\u2019 could be boiled down to a bafflement, but with a different tone for each. To my mind, the \u2018outsider\u2019 version would evoke a merry bafflement – whereas the Gruenrekorder version evokes a somewhat sad, slightly angry bafflement. Its presented as something worthy, but falls way short of its own evaluation. Of course, this shows the difference context can make; so, if we take Vowinckel\u2019s suggestion of removing that context from the sound, we\u2019re left with a recording that is essentially\u2026 a bit rubbish. <\/p>\n textura<\/strong><\/a> <\/p>\n Vowinckel’s Terra Prosodia (which received an honourary mention for the 2012 Prix Ars Electronica) is compelling also, albeit in a different way. The fascination here lies in attending to the vocal sounds as pure sound, as melodies that emerge simply through vocal utterance and the richness of human expression. There are currently approximately 6000 spoken languages, many of them destined to disappear. An arguable upside is that if a dialect or disappearing language is shared by a small number of people, those who don’t speak the language can experience the utterance as pure musical expression.<\/p>\n <\/p>\n For Terra Prosodia, Vowinckel asked a number of people to present short, spontaneous stories based on personal experiences. But though the stories recounted deal with storms, excursions, accidents, etc., their content doesn’t matter: what does is their manner of presentation. The recording doesn’t, however, feature a single voice within each of the eight pieces; instead, Vowinckel augments that primary element with a second voice or instrument, the latter at times a soft, synthesizer-like keyboard. It’s a smart move in that it makes for a much more stimulating listening experience, especially when call-and-response effects occur between the voices and when instrument sounds slither and scrape through the background. In addition to the phasing treatments applied to the melodic instrument, \u201cRumansch\u201d includes cello-like sounds plus percussive noise that suggests an object being dragged across a concrete surface; the stop-start movements of the speaker in \u201cGascon,\u201d on the other hand, are mirrored by acoustic bass-like accompaniment.<\/p>\n <\/p>\n It all adds up to a thirty-five-minute recording that’s admittedly odd but also engrossing. Listening to it through headphones, one finds oneself attending intently to the diction of the speaker in question, the timbral qualities of the voice, and the changes in pitch and tempo that regularly occur within human utterance. While some of the languages spoken sound alien, the one spoken by the young boy in \u201cProvencal,\u201d for example, sounds like a French dialect, whereas the one spoken by the older male in \u201cWallis-Deutsch\u201d strongly suggests German. A headphones listen also enables the listener to better appreciate the work’s spatial dimension, as Vowinckel gives careful attention throughout to the placement of elements within the recording’s mix. <\/p>\n Frans de Waard | VITAL WEEKLY<\/a><\/strong> <\/p>\n maeror3 | darkroomrituals<\/a><\/strong> <\/p>\n \u041f\u0440\u0438\u0433\u043e\u0442\u043e\u0432\u044c\u0442\u0435\u0441\u044c \u043a \u0442\u043e\u043c\u0443, \u0447\u0442\u043e \u0440\u0430\u0437\u043b\u0438\u0447\u043d\u044b\u0435 \u043b\u044e\u0434\u0438 (\u0434\u0435\u0442\u0438, \u043c\u0443\u0436\u0447\u0438\u043d\u044b, \u0436\u0435\u043d\u0449\u0438\u043d\u044b, \u0441\u0442\u0430\u0440\u0438\u043a\u0438) \u0431\u0443\u0434\u0443\u0442 \u0440\u0430\u0441\u0441\u043a\u0430\u0437\u044b\u0432\u0430\u0442\u044c \u0432\u0430\u043c \u0438\u0441\u0442\u043e\u0440\u0438\u0438. \u041d\u0435\u0432\u0430\u0436\u043d\u043e \u043e \u0447\u0435\u043c: \u043e \u043f\u043e\u0433\u043e\u0434\u0435, \u043e 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\u043f\u0440\u043e\u0441\u0442\u044b\u0435 \u0438 \u043e\u0431\u044b\u0434\u0435\u043d\u043d\u044b\u0435 \u0444\u0440\u0430\u0433\u043c\u0435\u043d\u0442\u044b \u0447\u044c\u0435\u0439-\u0442\u043e \u0436\u0438\u0437\u043d\u0438. \u0418 \u043f\u0443\u0441\u0442\u044c \u044d\u0442\u043e \u043e\u0431\u044b\u0447\u043d\u044b\u0439 \u043f\u0440\u043e\u0446\u0435\u0441\u0441 \u0438 \u043d\u0438\u043a\u0443\u0434\u0430 \u043e\u0442 \u044d\u0442\u043e\u0433\u043e \u043d\u0435 \u0434\u0435\u0442\u044c\u0441\u044f, \u043d\u043e \u043c\u044b \u0441\u0435\u0439\u0447\u0430\u0441 \u0438\u043c\u0435\u0435\u043c \u0443\u043d\u0438\u043a\u0430\u043b\u044c\u043d\u0443\u044e \u0432\u043e\u0437\u043c\u043e\u0436\u043d\u043e\u0441\u0442\u044c \u0441\u043e\u0445\u0440\u0430\u043d\u0438\u0442\u044c \u044d\u0442\u043e \u0434\u043b\u044f \u043d\u0430\u0441\u0442\u043e\u044f\u0449\u0435\u0433\u043e \u0438 \u0431\u0443\u0434\u0443\u0449\u0435\u0433\u043e, \u0447\u0442\u043e \u0430\u043b\u044c\u0431\u043e\u043c \u00abTerra Prosodia\u00bb \u0438 \u043f\u043e\u043c\u043e\u0433\u0430\u0435\u0442 \u043e\u0441\u0443\u0449\u0435\u0441\u0442\u0432\u0438\u0442\u044c. <\/p>\n Terra Prosodia | Antje Vowinckel<\/a>\u00a0<\/strong> Terra Prosodia | Antje Vowinckel English | Deutsch Gruen 125 | Audio CD > [order] Text by Christina Kubisch Reviews Sound composition with dialects and disappearing languages from Europe With: George Cad\u00e9ac, Nesa Engler, Don Eoil, Remy Graillon, Ingvar Larsson, Peter Meyer und Ingrid Wahlgren 1. Rumansch 2. Gutamal 3. Provencal 4. 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\nEnglish<\/em> | Deutsch<\/a>
\nGruen 125 | Audio CD > [order<\/a>]
\nText by Christina Kubisch<\/a>
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\nWith: George Cad\u00e9ac, Nesa Engler, Don Eoil, Remy Graillon, Ingvar Larsson, Peter Meyer und Ingrid Wahlgren<\/p>\n
\n2. Gutamal
\n3. Provencal
\n4. Wallis-Deutsch
\n5. Provencal
\n6. Gascon
\n7. Gutamal
\n8.\u00a0Scottish-Gaelic<\/p>\n
\nTrack 02
\nMP3<\/a>
\nTrack 03
\nMP3<\/a>
\nTrack 07
\nMP3<\/a><\/p>\n
\nCD (500 copies)<\/p>\n
\nIn Terra Prosodia people tell a short spontanuous story based on a personal experience. Stories about storms, excursions, accidents and so on. Particularly speakers who have spent their lifes in remote valleys or islands\u00a0 often speak with much more distinct modulation. This expressiveness gets lost quickly one cou live in a big city.<\/p>\n
\nDuring my work I found out, that an even more exact decoding and mapping oft he intervalls (which would be possible technically) on no account lead to better results. Quite the contraray the effect of a catchy tune that occurs when you remember the melodies is based on the fact the our brain is already\u00a0during hearing looking for characteristic figures and intervalls. Our ear behaves like the eye in a stalagtite cave. In a vast array of stalagtites and stalagmites we always remember nothing then typical single shapes. \u201eLook, that looks like….\u201c. Only this mechanism allows us to remember something of huge amount of shapes.
\n(Antje Vowinckel, translation: Chris Heenan)<\/p>\n
\nMany things disappear and only then gets attention. Images, texts, sounds appear in archives in audio-visual documentations in the net.
\nBut archiving the no more living existence is partial maybe even sometimes absurd or naiv. Language only can remain vivid and interesting, if it is spoken everyday.\u00a0When it is staying in a process of change, articulated by different persons, when it is depicting facts, information, thoughts, emotions and so on.
\nAntje Vowinckel\u2019s Terra Prosodia makes happy and sad at the same time. The musicality of the spoken word sinks in even more by the melodical adaption as in case of pure listening of an unknown lanugage. You admire the beautiness and complexity. You instantly wish to speak one of these languages yourself\u00a0for not leaving them to archivars and linguists but forward them to people who would use them in future.
\nIn Terra Prosodia Antje Vowinckel succeeds in a wonderful mixture of a political important theme, a formally convincing process and a subtle and profound humour, that is hard to find. Once you have listened to the voices you will listen differently to spoken language in every day life.<\/p>\n
\n![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/made_by_wdr.gif\" "\\"\\"")
\u00a0 \u00a0 \u00a0\u00a0 ![\"\"](\"https:\/\/www.gruenrekorder.de\/Photos\/FS_Logo_2zeilig_orange.jpg\"){kind=logo}
<\/p>\n
\nSupported by Film- und Medienstiftung NRW
\nHonorary mention\u00a0 Prix Ars Electronica Linz
\nSpecial thanks to Bosse Carlgren and Pascal Caumont
\nAll sounds except language by Antje Vowinckel<\/p>\n
\nGermany \/ 2014 \/ Gruen 125 \/ LC 09488 \/ GEMA \/ EAN 4050486103012<\/p>\n
\n
\nEin Telefoninterview mit Antje Vowinckel.
\nMusik: Ausz\u00fcge aus „Antje Vowinckel – Terra Prosodia“<\/p>\n
\nDie Berliner Audiok\u00fcnstlerin Antje Vowinckel hat k\u00fcrzlich auf dem SoundArt-Label „Gruenrekorder“ die CD „Terra Prosodia“ ver\u00f6ffentlicht. Im Mittelpunkt dieser Arbeit. die bereits im Rahmen der Prix Ars Electronica 2012 eine lobende Erw\u00e4hnung erhalten hat, steht die menschliche Sprache. Allerdings versteht man kaum ein Wort. Es sei denn, man ist des Gaskonischen und des Schottisch-G\u00e4lischen m\u00e4chtig und spricht obendrein Gutnisch, Provenzalisch, Wallis-Deutsch und Rumantsch. Antje Vowinckel hat Menschen in Schweden, Frankreich, Schottland und in der Schweiz besucht und sie gebeten, eine pers\u00f6nliche Geschichte zu erz\u00e4hlen. Entstanden ist ein Dokument von Minderheitensprachen und vom Aussterben bedrohten Dialekten. Doch „Terra Prosodia“ ist viel mehr als nur das. Gerade durch die weitgehende Unzug\u00e4nglichkeit des Inhalts, wird man auf Intonation, Rhythmik und Melodief\u00fchrung \u2013 die Prosodien eben \u2013 zur\u00fcckgeworfen. So wird Stimme zu dem Instrument, dass es immer schon gewesen ist. Und um dieses noch eindr\u00fccklicher zum Klingen zu bringen, hat Antje Vowinckel die Vocals nicht blo\u00df portioniert, umgestellt und dezent effektiert, sondern sie auch mit Sounds unterlegt \u2013 Synthesizer, Summen, Kontrabass. Sie doppeln das Sprachmaterial perkussiv und melodisch, ahmen es nach, tragen es weiter, konterkarieren es. Leben ist Improvisation. Sprache ist Free Jazz. „Terra Prosodia“ ist aus einer herzerfrischenden Idee erwachsen, \u00fcberzeugt \u00e4sthetisch auf ganzer Linie und \u00f6ffnet zudem Raum f\u00fcr konzeptuelle und letztlich politische Fragen.
\nlink<\/a><\/p>\n
\nAntje Vowinckel (sounds, comp), George Cadeac, Nesa Engler, Don Eoil, Remy Graillon, Ingvar Larsson, Peter Meyer, Ingrid Wahlgren (alle voc)<\/p>\n
\nNiekt\u00f3rzy nie maj\u0105 mo\u017cliwo\u015bci odbywania dalekich podr\u00f3\u017cy, a tym bardziej pos\u0142uchania nieznanych im j\u0119zyk\u00f3w, a lubi\u0105 muzyk\u0119 eksperymentaln\u0105. Jest na to prosty spos\u00f3b \u2013 \u201eTerra Prosodia\u201d.<\/p>\n
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\nThe linguist Mario Pei insisted that few words were pure but were part of a messy, ongoing process that borrowed, clipped, recombined and corrupted, but kept moving forward. Pei, who died in 1978, seemed less concerned about the disappearance and marginality of languages. Antje Vowinckel’s „Terra Prosodia“ is a sound composition derived from dialect recordings from the disappearing languages of Europe, including Gascon, Gutamal (from Gotl\u00e4nd), Provencal and Scottish-Gaelic. Her premise is that removing a language from its geographical context allows us to appreciate it as if musically. The brain homes in on forms with a natural mnemonic shape, which in turn will change relative to the native language(s) of the listener. And contrariwise, the stuff in known languages tends to be semantically anchored and undynamic. It’s perhaps more of an installation piece than a home CD recording, and listeners may find the spoken passages more compelling than Vowinckel’s musical abstractions from them.<\/p>\n
\nThe Tower of Babel. A convenient Biblical story created to explain the existence of the multitude of languages we share. But what if we all spoke the same language? Wouldn\u2019t it be much easier? If only we hadn\u2019t pissed God off all those years ago with that silly tower.<\/p>\n
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\nI think my only prior exposure to Vowinckel’s work was on a shared disc, on Bowindo, with Alessandro Bosetti and a track on the Echtzeitmusik Berlin collection, so this is my first experience of her music in any depth. Here, the central idea is simple enough: the inherent musicality of certain dialects, in this case, six examples of speech forms in some danger of disappearing: Rumansch (Switzerland), Gutamal (Gotland, in the Baltic Sea), Proven\u00e7al (France), Wallis-Deutsch (Switzerland?), Gascon (France) and Scottish-Gaelic. She asks native speakers to recount a personal story, records them and, often, edits and reconstructs this core material, including the repetition of phrases. She pairs this with electronic sounds, I think largely via computer program but possibly with some intuitively applied, which accentuate those more purely musical aspects of the language, often beginning in unison, more or less, with the speech but diverging somewhat, taking on an obbligato kind of role.<\/p>\n
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\n‚Terra Prosodia\u2019 comes in a shiny digipak, with liner notes from Vowinckel and Christina Kubisch. The album has eight tracks, all to the shorter side of things: the longest, nearly eight minutes; the least, just over two minutes. The pieces have all been constructed from short recordings that Vowinckel has collected, of disappearing European dialects.<\/p>\n
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\nGruenrekorder releases typically make a strong impression for being unusual and audacious, and, despite being dramatically different in concept, these recent recordings by Vienna-based composer Peter Kutin and Berlin-based sound artist Antje Vowinckel are no exception. Kutin’s is a vinyl release that roots its side-long compositions in 2012 field recordings from Myanmar, whereas Vowinckel’s CD features eight sparsely designed sound compositions oriented around dialects and disappearing languages. […<\/a>]<\/p>\n
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\nNow that English is the world Esperanto, more and more languages will disappear; there is no ’need‘ for them anymore. Especially from more remote areas there are fewer people speaking local dialects\/languages (let’s not go into the differences – you know what I mean). Antje Vowinckel sees an advantage here: if you no longer understand the language, it is possible to enjoy the musical quality of the language, the ‚melodic charm‘ as she calls them. She travelled around Europe and recorded people narrating a short story about something personal and she made compositions with that, repeating phrases, sentences and vocalizations. Dialects used are Rumansch, Gutamal, Provencal, Wallis-Deutsch, Gascon and Scottish Gaelic. This comes with a ‚primitive‘ musical backing; sometimes it seems an organ of some kind, something, however, I thought it could be samples from the original material. This is one of those things where I think the idea\/the concept is quite interesting and the first few pieces are very nice too. There is indeed a nice melodic element to these spoken words, but then by the fourth or fifth piece you get the drift. The repeated words, the additional sound (a bass in the sixth for instance), the non-sensical text told: we now know how it works. Even at only eight pieces, thirty-six minutes, it was a bit long. […]
\nExcellent stuff all around! Great, moody music, carefully balancing sound art and music, field recordings and soundscapes.
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\n\u041c\u044b \u0447\u0430\u0441\u0442\u043e \u0441\u043b\u044b\u0448\u0438\u043c \u043e \u0442\u043e\u043c, \u0447\u0442\u043e \u043d\u0430\u0434\u043e \u0441\u043f\u0430\u0441\u0430\u0442\u044c \u0432\u044b\u043c\u0438\u0440\u0430\u044e\u0449\u0438\u0435 \u0432\u0438\u0434\u044b \u0440\u0430\u0441\u0442\u0435\u043d\u0438\u0439 \u0438 \u0436\u0438\u0432\u043e\u0442\u043d\u044b\u0445, \u043d\u043e \u043c\u0430\u043b\u043e \u043a\u0442\u043e \u0433\u043e\u0432\u043e\u0440\u0438\u0442 \u043e \u0442\u043e\u043c, \u0447\u0442\u043e \u0432 \u0441\u043f\u0430\u0441\u0435\u043d\u0438\u0438 (\u0438\u043b\u0438, \u0445\u043e\u0442\u044f \u0431\u044b, \u0432 \u043f\u0440\u0438\u0441\u0442\u0430\u043b\u044c\u043d\u043e\u043c \u0432\u043d\u0438\u043c\u0430\u043d\u0438\u0438) \u043d\u0443\u0436\u0434\u0430\u044e\u0442\u0441\u044f \u044f\u0437\u044b\u043a\u0438. \u042f\u0432\u043b\u044f\u044f\u0441\u044c \u043d\u0435 \u0442\u043e\u043b\u044c\u043a\u043e \u043f\u0435\u0440\u0435\u0434\u0430\u0442\u0447\u0438\u043a\u043e\u043c \u0438\u043d\u0444\u043e\u0440\u043c\u0430\u0446\u0438\u0438, \u043d\u043e \u0438 \u043d\u043e\u0441\u0438\u0442\u0435\u043b\u0435\u043c \u0446\u0435\u043d\u043d\u043e\u0433\u043e \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u043e\u043b\u043e\u0433\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u0438 \u044d\u0442\u0438\u0447\u0435\u0441\u043a\u043e\u0433\u043e \u043a\u043e\u0434\u0430 \u0442\u043e\u0439 \u0438\u043b\u0438 \u0438\u043d\u043e\u0439 \u0447\u0435\u043b\u043e\u0432\u0435\u0447\u0435\u0441\u043a\u043e\u0439 \u043e\u0431\u0449\u0438\u043d\u044b, \u043e\u043d\u0438 \u0441\u043e\u0441\u0442\u0430\u0432\u043b\u044f\u044e\u0442 \u043d\u0435\u043a\u0438\u0439 \u0413\u0438\u043f\u0435\u0440\u0442\u0435\u043a\u0441\u0442 \u2013 \u0438 \u0441 \u0438\u0441\u0447\u0435\u0437\u043d\u043e\u0432\u0435\u043d\u0438\u0435\u043c \u0442\u043e\u0433\u043e \u0438\u043d\u043e\u0433\u043e \u044f\u0437\u044b\u043a\u0430 \u0438\u043b\u0438 \u0435\u0433\u043e \u0434\u0438\u0430\u043b\u0435\u043a\u0442\u0430 \u0432 \u044d\u0442\u043e\u043c \u0422\u0435\u043a\u0441\u0442\u0435 \u0442\u0435\u0440\u044f\u0435\u0442\u0441\u044f \u0447\u0442\u043e-\u0442\u043e \u0432\u0430\u0436\u043d\u043e\u0435, \u043d\u0435\u0432\u043e\u0441\u043f\u043e\u043b\u043d\u0438\u043c\u043e\u0435. \u0411\u0435\u0440\u043b\u0438\u043d\u0441\u043a\u0430\u044f \u0430\u0440\u0442\u0438\u0441\u0442\u043a\u0430 \u0438 \u0440\u0430\u0434\u0438\u043e\u0432\u0435\u0434\u0443\u0449\u0430\u044f \u0410\u043d\u0442\u044c\u0435 \u0412\u043e\u0432\u0438\u043d\u043a\u0435\u043b\u044c \u043e\u0442\u043f\u0440\u0430\u0432\u0438\u043b\u0430\u0441\u044c \u0432 \u043f\u0443\u0442\u0435\u0448\u0435\u0441\u0442\u0432\u0438\u0435 \u043f\u043e \u0415\u0432\u0440\u043e\u043f\u0435, \u0447\u0442\u043e\u0431\u044b \u0437\u0430\u043f\u0435\u0447\u0430\u0442\u043b\u0435\u0442\u044c \u043e\u0441\u043e\u0431\u0435\u043d\u043d\u043e\u0441\u0442\u0438 \u0440\u0435\u0434\u043a\u0438\u0445 \u0434\u0438\u0430\u043b\u0435\u043a\u0442\u043e\u0432, \u0430 \u043f\u043e\u0442\u043e\u043c, \u0432 \u0441\u0442\u0443\u0434\u0438\u0438, \u043f\u0440\u0435\u0432\u0440\u0430\u0442\u0438\u043b\u0430 \u044d\u0442\u0438 \u0437\u0430\u043f\u0438\u0441\u0438 \u0432 sound art \u043f\u0440\u043e\u0435\u043a\u0442, \u043f\u0440\u0438\u0434\u0430\u0432 \u0438\u043c \u043d\u0435\u043e\u0436\u0438\u0434\u0430\u043d\u043d\u043e\u0435, \u043d\u043e \u0432\u0441\u0435\u0433\u0434\u0430 \u043e\u0447\u0435\u043d\u044c \u0432\u0435\u0440\u043d\u043e\u0435 \u0437\u0432\u0443\u043a\u043e\u0432\u043e\u0435 \u043e\u0444\u043e\u0440\u043c\u043b\u0435\u043d\u0438\u0435.<\/p>\n
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\n@ Curt Cuisine | skug \u2013 Journal f\u00fcr Musik<\/a><\/strong>
\nHail to the Sound!
\nEine kurze W\u00fcrdigung des deutschen Gruenrekorder-Labels.<\/p>\n","protected":false},"excerpt":{"rendered":"