{"id":330,"date":"2020-05-22T11:32:00","date_gmt":"2020-05-22T09:32:00","guid":{"rendered":"https:\/\/sounding-situations.com\/?post_type=project&#038;p=330"},"modified":"2023-05-22T11:48:49","modified_gmt":"2023-05-22T09:48:49","slug":"case-study-sertao","status":"publish","type":"project","link":"https:\/\/sounding-situations.com\/de\/project\/case-study-sertao\/","title":{"rendered":"Case Stu\u00addy: Ser\u00adt\u00e3o"},"content":{"rendered":"\n<div class=\"wp-block-group Wysiwyg\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p class=\"has-l-font-size\">fiel\u00addre\u00adcor\u00addings of Ser\u00adt\u00e3o\u2019s Violei\u00adros, impro\u00advi\u00adsing poet\u00adry in the ear\u00adly 70ies are brought in todays con\u00adtext through Vio\u00adla, Vio\u00adlon\u00adcel\u00adlo, dou\u00adble\u00adbass and the pro\u00adces\u00adsed ori\u00adgi\u00adnal tapes \u2013 album<\/p>\n<\/div><\/div>\n\n\n\n<section class=\"audioplayer ss-container w-full col-span-full\">\n\n\t\n<\/section>\n\n\n<section class=\"accordions ss-container w-full col-span-full\">\n\n\t<div class=\"accordions__inner\">\n\n<div class=\"accordion accordion--material relative w-full col-span-full border-b first:border-t border-current\">\n\n\t<button class=\"accordion__button relative w-full pl-10 py-3 text-left appearance-none\" aria-expanded=\"false\">\n\n\t\t<span class=\"accordion__title w-full ss-h2\">\n\t\t\tWords about the album\t\t<\/span>\n\n\t\t<span class=\"accordion__close absolute top-0 left-0 ss-h2 h-full w-10 flex items-center justify-center -rotate-90 pointer-events-none select-none enabled:rotate-0 transition-transform\" aria-hidden=\"true\">\u2193<\/span>\n\n\t<\/button>\n\n\t<div class=\"accordion__inner Wysiwyg w-full pt-2 pb-5 pl-10 hidden no-js:block\">\n\n<p>Two gene\u00adra\u00adti\u00adons cross over two count\u00adries. Mile\u00adna Kipf\u00adm\u00fcl\u00adler uses tape mate\u00adri\u00adal of the 70ies done by her father G\u00fcn\u00adter Kipf\u00adm\u00fcl\u00adler in north-east Bra\u00adzil: recor\u00addings of popu\u00adlar tra\u00advel\u00adling musi\u00adci\u00adans in the ser\u00adtao that trans\u00adform news and sto\u00adries in vir\u00adtuous\u00adly impro\u00advi\u00adsed poet\u00adry, the \u201cviolei\u00adros\u201d. The source mate\u00adri\u00adal enters a&nbsp;nowa\u00addays pro\u00adcess of elec\u00adtro\u00adnic trans\u00adfor\u00adma\u00adti\u00adon in dia\u00adlo\u00adgue with the three other string instru\u00adments. Vio\u00adla and cel\u00adlo are play\u00aded by father and son, Guil\u00adher\u00adme and Ernes\u00adto Rodri\u00adgues, thus by two gene\u00adra\u00adti\u00adons that com\u00adpo\u00adse in their own, dif\u00adfe\u00adrent (ana\u00adlo\u00adgue) lan\u00adguages. Klaus Janek at the con\u00adtra\u00adbass, com\u00adbi\u00adnes both aspects in his artis\u00adtic prac\u00adti\u00adce, the ana\u00adlo\u00adgue instru\u00adment and elec\u00adtro\u00adnics \u2013 bridging the two duos of gene\u00adra\u00adti\u00adons and trans\u00adfor\u00adma\u00adti\u00adon pro\u00adces\u00adses.<\/p>\n\n\n\n<p><strong>Andrzej Nowak  spon\u00adta\u00adneous\u00admu\u00adsic\u00adtri\u00adbu\u00adne<\/strong><\/p>\n\n\n\n<p>Mile\u00adna Kipf\u00adm\u00fcl\u00adler \/\u200b Ernes\u00adto Rodri\u00adgues \/\u200b Guil\u00adher\u00adme Rodri\u00adgues \/\u200b Klaus Janek case stu\u00addy: Ser\u00adt\u00e3o (Crea\u00adti\u00adve Sources, CD 2020)<\/p>\n\n\n\n<p>We end our today\u2019s Por\u00adtu\u00adgue\u00adse sto\u00adry in\u2026 Ber\u00adlin! Mile\u00adna Kipf\u00adm\u00fcl\u00adler (tape and elec\u00adtro\u00adnics) and Klaus Janek (dou\u00adble bass and elec\u00adtro\u00adnics) as Sound\u00ading Situa\u00adti\u00adon some time ago recor\u00added intri\u00adguing mate\u00adri\u00adal that con\u00adsu\u00admed the sounds of a&nbsp;live dou\u00adble bass, elec\u00adtro\u00adnics and field recor\u00addings from Bra\u00adzil, from the 70s of the last cen\u00adtu\u00adry (songs cal\u00adled Violei\u00adros; we wro\u00adte about this idea when dis\u00adcus\u00adsing the dou\u00adble bassist\u2019s 5\u2011disc epic). Now we get a&nbsp;kind of repri\u00adse of this pro\u00adject (recor\u00added last year), and for its imple\u00admen\u00adta\u00adti\u00adon were invi\u00adted \u2013 Ernes\u00adto Rodri\u00adgues on the vio\u00adla and Guil\u00adher\u00adme Rodri\u00adgues on the cel\u00adlo. The who\u00adle musi\u00adcal jour\u00adney (one track) is 46 and a&nbsp;half minu\u00adtes.<\/p>\n\n\n\n<p>We are invi\u00adted to the land of elec\u00adt\u00adro-acou\u00adstic non-obvious\u00adness when we are invi\u00adted by strin\u00adged instru\u00adments that flow low (dou\u00adble bass) and extre\u00adme\u00adly high (vio\u00adla and cel\u00adlo) \u2013 rum\u00adble, sque\u00adal, seem light, elu\u00adsi\u00adve, but also extre\u00adme\u00adly mas\u00adsi\u00adve. The who\u00adle thing, alt\u00adhough a&nbsp;bit gent\u00adle at first, has its own rhythm, its some\u00adti\u00admes hid\u00adden dyna\u00admics. Elec\u00adtro\u00adnic sounds do a&nbsp;lot from start to finish. In gene\u00adral, they crea\u00adte a&nbsp;mys\u00adte\u00adrious back\u00adground, some\u00adti\u00admes they are the result of some live pro\u00adces\u00adsing acti\u00advi\u00adties, they never go out of line, and most of all, they force field sounds into the strin\u00adged nar\u00adra\u00adti\u00adve in an inte\u00adres\u00adt\u00ading way. The lat\u00adter appear after a&nbsp;few minu\u00adtes. They are loo\u00adped, muta\u00adted, as if they came to us from a&nbsp;com\u00adple\u00adte\u00adly dif\u00adfe\u00adrent world. Kind of cham\u00adber with field elec\u00adtro\u00adnic tas\u00adte! The Por\u00adtu\u00adgue\u00adse are per\u00adfect\u00adly stuck to this Ger\u00adman idea \u2013 they prepa\u00adre sounds when neces\u00adsa\u00adry, other times they flow in long, char\u00adming pas\u00adsa\u00adges, and they do not look for silence on the fin\u00adger\u00adboards of their instru\u00adments.<\/p>\n\n\n\n<p>The first real exci\u00adting moment is around 14&nbsp;minu\u00adtes, when this elec\u00adt\u00adro-acou\u00adstic bund\u00adle of sounds falls into an almost medi\u00adta\u00adti\u00adve pul\u00adse, not wit\u00adhout a&nbsp;dark ambi\u00adent fla\u00advor. After ano\u00adther few minu\u00adtes, a&nbsp;lot of good comes to us from the dou\u00adble bass neck, which rum\u00adbles and rum\u00adbles con\u00adnec\u00adted to the cables, like a&nbsp;muta\u00adted bass gui\u00adtar. Soon after, as a&nbsp;result of a&nbsp;com\u00adbi\u00adna\u00adti\u00adon of seve\u00adral cir\u00adcum\u00ads\u00adtances, flow takes on a&nbsp;dub echo, and the atmo\u00adsphe\u00adre of post-tech\u00adno Ber\u00adlin from 25&nbsp;years ago seems to be tri\u00adum\u00adphant. The\u00adre is no end to the kalei\u00addo\u00adscope of intri\u00adguing and sur\u00adpri\u00adsing sounds. The strings fall into a&nbsp;demo\u00adnic dance, beau\u00adtiful\u00adly plung\u00ading into the pul\u00adsa\u00adting dro\u00adnes of elec\u00adtro\u00adnics and hea\u00advi\u00adly pro\u00adces\u00adsed field recor\u00addings. At around 22&nbsp;minu\u00adtes, the artists offer us a&nbsp;moment of breathing and sen\u00adsu\u00adal pas\u00adsa\u00adges of purely acou\u00adstic string sounds, after which the splas\u00adhes of violei\u00adros enter the action again, which sow anxie\u00adty and seem to ask exis\u00adten\u00adti\u00adal ques\u00adti\u00adons about the place of sound in time and space. Just befo\u00adre 30&nbsp;minu\u00adtes is over, we have a&nbsp;real pile of sounds and emo\u00adti\u00adons. The string orches\u00adtra and elec\u00adtroa\u00adcou\u00adstic ambi\u00adent take a&nbsp;won\u00adderful toll! Befo\u00adre this gre\u00adat sto\u00adry final\u00adly resounds, we still have a&nbsp;short des\u00adcent into silence, pas\u00adsa\u00adges of string sawing and grin\u00adding, and a&nbsp;dro\u00adne pha\u00adse that seems to build up like a&nbsp;thun\u00adder\u00adstorm in light\u00adning. The final of the recor\u00adding is full of elec\u00adt\u00adro-acou\u00adstic sound pearls, it fades to the accom\u00adp\u00adaniment of live sounds and ano\u00adther repri\u00adse of voices straight from the Bra\u00adzi\u00adli\u00adan jungle.<\/p>\n\n<\/div>\n\n<\/div>\n\n\n<div class=\"accordion accordion--credits relative w-full col-span-full border-b first:border-t border-current\">\n\n\t<button class=\"accordion__button relative w-full pl-10 py-3 text-left appearance-none\" aria-expanded=\"false\">\n\n\t\t<span class=\"accordion__title w-full ss-h2\">\n\t\t\tCre\u00addits\t\t<\/span>\n\n\t\t<span class=\"accordion__close absolute top-0 left-0 ss-h2 h-full w-10 flex items-center justify-center -rotate-90 pointer-events-none select-none enabled:rotate-0 transition-transform\" aria-hidden=\"true\">\u2193<\/span>\n\n\t<\/button>\n\n\t<div class=\"accordion__inner Wysiwyg w-full pt-2 pb-5 pl-10 hidden no-js:block\">\n\n<p>Mile\u00adna Kipf\u00adm\u00fcl\u00adler \u2013 tape and elec\u00adtro\u00adnics<br>Klaus Janek \u2013 con\u00adtra\u00adbass and elec\u00adtro\u00adnics<br>feat. Guil\u00adher\u00adme Rodri\u00adgues \u2013 cel\u00adlo<br>Ernes\u00adto Rodri\u00adgues \u2013 vio\u00adla<br>editing and mixing: sound\u00ading situa\u00adtions<br>recor\u00added in Ber\u00adlin 2019<br>art\u00adwork: Mari\u00adon Bur\u00adbulla<br>Crea\u00adti\u00adve Sources \/\u200b ALMENRAUSCHEN<br>Berlin\/\u200bLisbon 2020<\/p>\n\n<\/div>\n\n<\/div>\n<\/div>\n\n<\/section>","protected":false},"excerpt":{"rendered":"<p>fiel\u00addre\u00adcor\u00addings of Ser\u00adt\u00e3o\u2019s Violei\u00adros, impro\u00advi\u00adsing poet\u00adry in the ear\u00adly 70ies are brought in todays con\u00adtext through Vio\u00adla, Vio\u00adlon\u00adcel\u00adlo, dou\u00adble\u00adbass and the pro\u00adces\u00adsed ori\u00adgi\u00adnal tapes \u2013 album<\/p>\n","protected":false},"featured_media":332,"template":"","project_cats":[16],"project_classification":[22],"class_list":["post-330","project","type-project","status-publish","has-post-thumbnail","hentry","project_cats-tontrager","project_classification-archiv"],"acf":[],"yoast_head":"<title>Case Study: Sert\u00e3o &#8211; 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