CZ: Soubor MoEns hraje vizuální partitury Milana Grygara v realizaci Kamila Doležala, Mondschein Ensemble, Miroslav Pudlák - umělecký vedoucí/ 2. CZ: Soubor MoEns hraje vizuální partitury Milana Grygara v realizaci Kamila Doležala, Mondschein Ensemble, Miroslav Pudlák - umělecký vedoucí/ 2.
Milan Grygar - Vizuální Partitury, Visual Scores MP3 album ZIP archive. 1975 downloads at 15 mb/s. Milan Grygar - Vizuální Partitury, Visual Scores FLAC album ZIP archive. 1779 downloads at 21 mb/s. Milan Grygar - Vizuální Partitury, Visual Scores WMA album ZIP archive. 1411 downloads at 19 mb/s.
Since the 1960s, the artist Milan Grygar from Prague has been engaged with the mutual relationship of image and sound. In 1965 he started recording the sounds created whilst drawing, that from then on became an integral part of his works. He calls these works that comprise acoustic and visual elements Akustická kresba. He repeatedly conducts performances, for example in 1986 on invitation by Jan Hoet at the SMAK in Gent, during which he produces drawings with various objects that put out sounds or musically interprets his drawings in collaboration with musicians.
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Czechoslovak audiovisual artist, painter, and typographer. Milan Grygar was born in Zvolen, Slovakia in 1926. After graduating from the College of Applied Arts, Prague (where he studied under Professor Emil Filla) he concentrated on still lifes which evolved into colour compositions devoid of subject matter. In 1964 he produced a series of 64 black-and-white drawings using the principle of a linear sequence. Working in a fast rhythm, he could "hear" the drawing he was creating.
Grygar recorded these sounds on tape, in the form of ‘acoustic drawings’ (for instance, Acoustic Drawing, Steps, 1971) or as ‘scores’ (such as Landscape Score, E. Karkoschka, 1971). As open notations, these works invite performers to re-create a visual process via acoustic means. They define temporal and spatial parameters but do not dictate a specific realization – the use of particular instruments, for example. In essence, they rely on controlled contingency
Milan Grygar first had a significant impact on the development of Czech art back in the mid-sixties with a specific concept of the relation between visual art and music. This concept led him to combine the realisation of visual art work with the phenomenon of sound and its existence in space. On this basis in the course of the following years he was to take his own solitary and entirely original path of development, one that in a highly individual way crossed or at least touched aspects of the work of the post-war avant-garde in Europe and America. The art of Milan Grygar is many layered.
Akustické kresby, kresby mechanickými předměty, hmatové kresby, kresby – partitury, zvukoplastické kresby, lineární partitury, černé obrazy, bílé obrazy, antifony, obrazy – partitury – za těmito téměř záhadnými názvy se skrývá dílo Milana Grygara. Koncepce knihy, včetně grafické úpravy byla v rukou autora samotného. Vznikla tak publikace téměř bibliofilského ražení, v níž Akustické kresby, kresby mechanickými předměty, hmatové kresby, kresby – partitury, zvukoplastické kresby, lineární partitury, černé obrazy, bílé obrazy, antifony, obrazy – partitury – za těmito téměř.
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- Recorded At – Akademie Múzických Umění
- Ensemble – MoEns