he term Musica Povera is to be understood as an extension of Arte Povera, it is always site specific, verbal - there is no acces to it on paper, it is personal rather then general, it can be learned and it can be taught.
Musica Povera expands Arte Povera to relate the sonic and musical sphere beyond the land, the area, and the poverty into musical and sound content of land and people therein.
Musica Povera is in both object as well as the musical content.
It is not folk music, nor about using traditional songs as say Igor Stravinsky or Bela Bartok do, even if their work sparked a popularity in the educational value of collecting tradition manifesting in work where environment is accounted for in contemporary classical music dating to the 90's, but where there isn't poverty. I would call it an indipendent movement rather then a relative of Arte Povera or even Moscow Conceptualism. And it is interesting to note that composer Dmitry Kourliansky consideres several composers that I cannot now name, to be involved in this idea, which I find more then plausible because of the music of Alexander Khubeev and Daria Zvezdina.
Musica Povera is about relating Musical objects and their sounds as well as the sounds that areas of land, rural culture and poverty hold into a context that speaks through the language and symbols of the luxury of contemporary art, or perhaps in the case of classical contemporary music through the language of the 19th centory virtuoso instruments.
Because of this it is always privileged.
Where does Musica Povera come from?
The term Musica Povera was first used by Professor John Croft in 2011 to describe the compositions of Tristan Rhys Williams, and consequently Williams used this term in his doctoral thesis as part of his aesthetic of impoverished luxurious acoustic materials, A contradiction Karlheinz Essl also pics upon in his essey "towards a rich musica povera", in an effort to calibrate the idea into the digital age. Thomas Grill puts again this idea of a digital Musica Povera in my list of 2016 predictions at Acutethics. And after a long conversation on the subject while looking at the development of digital objects from post-collonial perspective, it seems plausible that something akin to Arte Povera can emerge from the rural cultures and peoples where the west has been dumping it's digital equipment for decades.
Part of the work of Timo Tuhkanen has embraced this richness to quote Essl of musica povera, and he has developed the concept further towards Arte Povera and Situationist Game Theory and the Anthropocene.
Musica Povera expands Arte Povera to relate the sonic and musical sphere beyond the land, the area, and the poverty into musical and sound content of land and people therein.
Musica Povera is in both object as well as the musical content.
It is not folk music, nor about using traditional songs as say Igor Stravinsky or Bela Bartok do, even if their work sparked a popularity in the educational value of collecting tradition manifesting in work where environment is accounted for in contemporary classical music dating to the 90's, but where there isn't poverty. I would call it an indipendent movement rather then a relative of Arte Povera or even Moscow Conceptualism. And it is interesting to note that composer Dmitry Kourliansky consideres several composers that I cannot now name, to be involved in this idea, which I find more then plausible because of the music of Alexander Khubeev and Daria Zvezdina.
Musica Povera is about relating Musical objects and their sounds as well as the sounds that areas of land, rural culture and poverty hold into a context that speaks through the language and symbols of the luxury of contemporary art, or perhaps in the case of classical contemporary music through the language of the 19th centory virtuoso instruments.
Because of this it is always privileged.
Where does Musica Povera come from?
The term Musica Povera was first used by Professor John Croft in 2011 to describe the compositions of Tristan Rhys Williams, and consequently Williams used this term in his doctoral thesis as part of his aesthetic of impoverished luxurious acoustic materials, A contradiction Karlheinz Essl also pics upon in his essey "towards a rich musica povera", in an effort to calibrate the idea into the digital age. Thomas Grill puts again this idea of a digital Musica Povera in my list of 2016 predictions at Acutethics. And after a long conversation on the subject while looking at the development of digital objects from post-collonial perspective, it seems plausible that something akin to Arte Povera can emerge from the rural cultures and peoples where the west has been dumping it's digital equipment for decades.
Part of the work of Timo Tuhkanen has embraced this richness to quote Essl of musica povera, and he has developed the concept further towards Arte Povera and Situationist Game Theory and the Anthropocene.
Performances:
SAD Sound Art Day. Monday 24 August 2015, starting at 17.00 at Magito, Kaasutehtaankatu 1, building 7, Suvilahti, Helsinki.
Civilizations come and go but poverty is always with us. Yet within poverty there is creativity and exuberance in the ability to handle even minute resources non destructively. This ability to think beyond commonly perceived uses of objects and relations is essential if we want to survive the Anthropocene. Musica Povera is a part of an ongoing series with this symbolic at its core. It is a location where objects will approach commonality and togetherness in gatherings of musical sounds and then be released from the grasping hand by the descending voice. These performances are site-specific and use materials found in the immediate vicinity to construct musical instruments, which are played, and then deconstructed, returning them into their original state.
SAD Sound Art Day. Monday 24 August 2015, starting at 17.00 at Magito, Kaasutehtaankatu 1, building 7, Suvilahti, Helsinki.
Civilizations come and go but poverty is always with us. Yet within poverty there is creativity and exuberance in the ability to handle even minute resources non destructively. This ability to think beyond commonly perceived uses of objects and relations is essential if we want to survive the Anthropocene. Musica Povera is a part of an ongoing series with this symbolic at its core. It is a location where objects will approach commonality and togetherness in gatherings of musical sounds and then be released from the grasping hand by the descending voice. These performances are site-specific and use materials found in the immediate vicinity to construct musical instruments, which are played, and then deconstructed, returning them into their original state.
