Harold Clark, often referred to as Hull, is an inner name well known in contemporary music circles. Especially! In Norway, after Arne Nordheim painted it here. In his new book, he also talked about the contract to build the first studio of its kind in Norway. The electric sound studio at Henie-Onstad Kunstenter in Høvik.
From his home in bustling Vancouver, Canada, the American tells of a golden age of brainstorming and musical encounters. Nordheim’s latest approach to music and people in particular spark nobles As Hal calls it. The story begins at the University of Los Angeles, where he studied composition:
– I already have some fittings in stock. The evolution of symphonic and new music was astonishing. When Nordheim entered our university for a residency visit in 1969, he was playing his part line drawing for orchestra and magnetic tape, The friendship began, as Clarke describes on his video line with Ballade. The story and his book become more important as Nordheim’s 90th birthday is celebrated.
– I saw this tall, bespectacled, blond Norwegian – and I heard his beautiful accent. This is where the story really begins, because I’ve been listening! My book A Study in Listening – Listening to the tones, but also to people’s attitudes that lie in the words. Clark says, I was touched and made friends when I had to help make custom Norwegian magnetic tapes for our tape machines. He is a musician, composer and studio technician. He’s still proud of the studio he built, and he’s so famous he lost Norwegian electronic music studio. This fits well in the 120-page book.
Read also: Norway’s first vocal studio
Nordheim had a traditional musical education, but felt electronic. He did some exploration on NRK, using oscillators etc, but the electronic studio is right for that [som man fant i noen andre store europeiske byer] It is not located in Norway. And what kind of studio should it be? Should it be built for ي concrete music? Should the computer be involved? Many questions arise. You got the job done and went on a journey to find the right balance. This was controversial! Even Ballade wrote an essay based on the controversy between the authors, between young and old music makers. “Do we really need a studio for this?” He laughs.
Artwork and Equality
There are many sides to Norway – and Scandinavia – that young Clark fell into; “In the mid-1970s, an activist movement called Artist movement 74 (Kunstneraksjonen ’74), established one of the most progressive public art policies in Scandinavia,” Clark said in the book. He admires the mechanics of tax-financed cultural support, as opposed to the privately funded art scene in his home country.
I was struck by the social democrats and the Scandinavian countries’ approach to equality. I had written letters to several Scandinavian musicians to make contacts there. Add in the tour stories told by African Americans about the good treatment, the right payments and more, they got there, which made me curious. And the book is one expatriates He adds.
Radio also played a major and social role. What I’ve seen around me in America is that newly graduated composers often do only one of two things: either be entirely commercial designers—or become doctors, in order to teach and publish. After that, they often had to stop composing, or carry on with incredibly abstract and scientific theories about the brain receiving music and so on. I wasn’t interested in this isolated, even politically charged role. I grew up recording European music makers. Stockhausen, Berio and the studios have expressed their support for the public institutions. National Radio, Cultural Council and Festivals. I’ve rarely seen such things in the United States.
Many are only interested in how the music sounds. I will also follow its deeper social meaning. That’s why my search for music took me all over the world! After his time in Oslo/Hovik, Clark traveled through York University to work with traditional music from the island of Balinese, among others. Sadness emerged that the innovative studio did not remain the same at the same time that other expeditions reported:
Some great studio parts ended up at the Academy of Music, as I understand it. Hull describes it as sad that it was not preserved.
– You endorse our cliché that we believe in the public responsibility of art as opposed to what we think of the United States… Can’t it always be good here? And Canada, where you live and work now, is very similar, isn’t it?
Well, you have many of the same ideas here. I follow their discussions, I read about the lack of funding for the work of great artists, I read in Ballade that there may be a lack of understanding electronics With the granting of powers and more answers. Not just gold.
From HOK-YOUTUBEN: Amateur Recording Without Audio, NSEM was introduced to Henie Onstad when the studio was new.
Music touches people
He uses the participation of local dancers, the large window that all visitors can follow into the sound studio and the community’s reception of the new and ground-breaking music that emerged in the 1970s as examples of the setting from which he was inspired:
– there was a social interaction with music, in more avant-garde and popular music genres – and interaction with other arts, such as dance and photography, he began and reflects both on his time as a student at the Norwegian Academy of Music and at Henie Onstad. He also speaks warmly of his time at NMH, when he shared friendships and studies in audiology with Olav Anthon Thommesen and Lasse Thoresen.
This is how the pioneering work of man-built music is viewed – and vice versa. So, when thinking about technological advances today, what more does the story writer suggest? composite Then in the golden age praised in the book, he warned against losing focus on humans. Physically, we call it physical – when working with machines:
There is likely to be a risk if you are involved in the programmes. You have to deal with constant changes in the structure of the programs you use: you lose touch with what you’re doing. At the university level, everything is closely related to artificial intelligence. This is an extreme form that is no longer recognizable in audible logic. its a problem!
For reservations New music in the light of the nobility About the NSEM studio and about the Norwegian avant-garde – and memories of Clark’s immigration – on display at Norsk musikkforlag.
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