Japanese composer Toshiya Tsunoda (1964) has introduced innovative concepts in the
arts of "field recording" and of "collage". His field recordings consist
in capturing the sound of inert matter, which sounds like a contradiction
until one studies Physics and realizes that everything radiates vibrations.
Each object has a "sound": it is just a matter of finding a way to render
that sound so that it can be appreciated by the human ear.
Tsunoda's music is thus one of minimal subsonic vibrations.
It is also one of extremely conscientious cut-up: sonic events are pasted
together in a carefully choreographed design.
Finally, Tsunoda's music is also poetry, because, far from being a mere
scientist collecting specimen, the artist carefully his creatures
so to concentrate the lyrical power of the world we inhabit.
Ful (Selektion, 1996), a collaboration with Minoru Sota, plays sounds collected from a room during a period of one hour;
Extract from Field Recording Archive #2 - The Air Vibration Inside A Hollow (Hapna, 2000) extracts sounds from the interior of objects such as bottles;
and Pieces Of Air (Lucky Kitchen, 2001) is, literally, recordings of air vibration.
They all eskew sound processing in favor of a "realistic" reproduction of
the original source of sound.
Extract From Field Recording Archive #1 (Hapna, 1999) is the most
conventional of his field recordings, because it simply documents sounds
of heavy machinery at the harbor.
The second volume was devoted to the sound made by air inside hollow objects.
Other "recordings" include
Field Recording Archive #3 - Solid Vibration (Intransitive Recordings, 2001), dedicated to "solid vibrations" that are difficult to perceive,
O Respirar Da Paisagem (Sirr, 2003), another essay in microscopic field recording,
half of the double-disc Tsunoda/ Civyiu Kkliu (Bremsstrahlung, 2003),
Scenery of Decalcomania (Naturestrip, 2004),
Low Frequency Observed At Maguchi Bay (august 2005),
Ridge Of Undulation (Hapna, 2006), but both the technique and the
results tend to repeat themselves while revealing precious little about
sounds, nature or the meaning of life. Basically, Tsunoda is toying with
simple ideas in simple manners.
More recordings of the same kind followed:
The Argyll Recordings (august 2007), The
Temple Recording (recordings of december 2010
and may 2012), Grains Of Spring (spring 2012),
Detour (Erstwhile, 2014) documents a collaboration with
Swiss pianist Manfred Werder.
(Translation by/ Tradotto da xxx) |
Se sei interessato a tradurre questo testo, contattami