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Sounding Women's Work | »The terms feminine and masculine are used as if we all understand what they represent,« says Anja Jacobsen from the band Selvhenter and member of rehearsal place Mayhem.
Sounding Women's Work | Everything is entangled – freedom and discipline, conscious and unconscious. For Lotte Anker walking in to the tones a fascinating learning process, and it's necessary to step into the unknown.
Sounding Women's Work | »For the last thousands of years, it has been difficult to see or hear women. I hope that will change in the next many thousands of years to come, so that there is room for both men and women - and all other definitions of gender,« says Danish-American composer Lil Lacy.
Sounding Women's Work | »It's not a choice whether I want to relate to my gender and my body in my work – the outside world has decided that it is a theme,« says British-Danish Juliana Hodkinson, who does not have much of a romantic approach to composing and accepts the truth of the sketch.
Sounding Women's Work – AUDIO ESSAY | Nanna Lysholt Hansen reflects on her live performance »Dear Daughter/Sen_sing_inannainanna (Russ, Shiva, Klein)« using her voice to perform mothering towards strangers on a bus while sharing, by mantra singing, eco-feminist thought on the necessity of caring for others in times of planetary crisis.
Sounding Women's Work | DEAP – Aske Zidore & Pernille Zidore Nygaard – work in the cross field between gender, technologies and sound. The artist couple remember to challenge and push each other, so it is not only safe: »Go with the spontaneous ideas – also the children's!«
The sound of Freud’s toilet in Wienna, Andy Warhol in the supermarket, and the first pirated mp3 ever – Museum of Portable Sound collects and exhibits sound as cultural objects. And the sounds in the collections are only accessible from curator John Kannenberg’s iPhone 4S.
»Hoshi« is an album packed with microscopic moments that together form a frayed, exploding, radiant, idiosyncratic whole—a stellar moment of just under 38 minutes
After a long hiatus due to the covid-19 pandemic, Berlin Atonal has opened the gates of Kraftwerk to the public for the first time. As limitations to collective events endure, the new project Metabolic Rift includes, in addition to the live performances, an exhibition aiming to elicit individual experience with intense stimuli. The exposition presents a convincing curatorial approach to sound, exalting its sensorial qualities and proposing an inspiring model to work with the aural and its (im-)materiality in the context of art exhibitions.
One of Europe’s oldest contemporary music festivals comes to Aarhus. We profile Ung Nordisk Musik, which is as ageless as Madonna and contains Icelandic vulgarities from 1612.
To reach its potential music criticism needs to go beyond opinion. Macon Holt suggests the critic must grapple with the ethics and politics of the music.
Synthetic voice creation as the promotion of diversity.
Postcolonial reflections through soundwalk production.
Editing and listening to field recordings as methods in postcolonial history writing.
Decolonization and the creation of dialogical narratives.
Collaborative improvisation as a creative point of departure for studio production.
Critical examination of piano music through a psychological understanding of the act of performing.
An investigation of pianists’ independence from the score by comparing their tempo through graphs.
Exploring the master-apprentice relationship through artistic research methodologies and the staging of a Hörspiel.
Artistic environmental interaction and the notions of ‘fleshy listening’ and ‘multi-entity performance’.
Historically-informed recording research exploring the work of the amateur recording pioneer Julius Block.
On obsolescence, preservation, acoustic signatures and functions in the now closed Yerkes Observatory, Wisconsin.
Reflecting the practice of the medical technique for listening with a stethoscope.
Guitarist Mikkel Schou prefers the brand-new music composed today; his upcoming Debut Concert is a ‘thanks, but no thanks’ to institutional forces of habit.
At the Academy for Open Listening, Sofie Birch and My Lambertsen set out a new direction for the ASMR genre.