Tonspielzeug

Music:

Member Since: 06/08/2008
Band Website: www.tonspielzeug.de
Band Members: Autoren der Buchreihe "Turntablism -Musiktheorie&Instrumentalmethodik-"Alexander Sonnenfeld: geboren 1979, seit Anfang der 90er–Jahre Turntablist. Ab 1998 begann er damit, ein schriftliches Gebrauchsmuster zu entwickeln, welches die komplizierten Bewegungsabläufe der instrumentellen Handarbeit am Plattenspieler und Mischpult konkret systematisiert und durch eine notationelle Symbolistik (S-Notation) darstellbar werden lässt. Im Jahre 2002 besuchte er den berühmten Musikwissenschaftler Prof. Karlheinz Stockhausen, um dieses Notationsmodell aus akademischer Sicht beurteilen zu lassen. Aus diesem Treffen entstand eine feste Brieffreundschaft, bei der sich Alexander Sonnenfeld stets auf den Rat dieses anerkannten Musikwissenschaftlers verlassen konnte.Ronald Kalkowski: geboren 1975 und studierter Diplom-Volkswirt, begleitete die Arbeit von Alexander Sonnenfeld seit Anbeginn. 2003 gründeten sie gemeinsam den Verlag „Tonspielzeug“. Es folgten Jahre der gemeinsamen Überarbeitung und Strukturierung des Notationssystems, woraus letztlich das Lehrmodell resultierte. Alexander Sonnenfeld: "Nine years ago I started to develop a written utility model which shows the complicated manual motions of the Turntablist’s instrument which can then become systematic and represented using notational symbols. Among them are Scratching, Beatcutting, Tone-Scratching, Beatjuggling and Trickmixing. This book series is developed to tackle the first scientific music analysis of Turntablism apart from normal music theory. The name of this book series; “Turntablism Music Theory and Instrument Methodology of a New Sound Art” is seven basic books each with 350 - 400 pages. Additional notation exercise books and curricula serve as systematic training for all types of instruments. I realize I do not need to explain the importance and function of notation for this very new sound art. The thought of Scratch notation is not new to me as I am aware of the work of DJ A-Track, DJ Radar and John Carluccio. However, I have a developed a recording methodology which is based on formal tradition of notation where a general validity can be given for problem-free instrumentation such as Scratching, Beatcutting, Beatjuggling...and can be notated. Because of this I became interested not only in primary Scratch technics (Chirp, Flare, Crab, Tears etc.) but also to represent this by notation. The graphic marking of these movement samples is a logical consequence of these inevitable results which can notate the instrumental process engineering in “Turntablism”. Therefore, the following elementary question arose at the beginning of my research, “if the combination of a mixer and record player is actually considered a musical instrument in modern music, then it should be theoretically possible to define all courses of action in a similar and exact method as is possible with traditional equipment. Additionally, should the immeasurable variety of all “admitted” and still “unknown” Scratch technics be from the same functional connection and decoded from a single technical formula? Of course it is theoretically possible, as in mathematics to form derivatives for (all) new Scratch technics. Since the physical work on record players and mixers is basically the same, the correspondence of rhythmic movements and procedures on the record players and the sliding controls of the mixer are also. Therefore this instrumental process engineering must be subject to an order, in principle which is possible to understand, used or apply correctly! I have succeeded with this and have the following result. The past repertoire of Scratch technics is about 2 percent. The remaining 98 percent is above this notational recording form but can be opened and cleared, after which instrumental manual work can actually take place. Finally, after years and only through intelligent instrument methodology in connection with music theory will turntable mixing be legitimized - the music instrument 21st Century. It has not be clarified yet, into which technical-functional principle the movement of these new musical apparatus falls and because of this we are complete music illiterates. Everything is still up in the air with enormous verbalization of Scratch technics (Flirp, Stab, Chop) which leads to an indefinable chaos. We must standardize these verbal definitions into a “formula” so everything can be transferred and noted. The music of “Turntablism” sounds like it is from another planet, however we are not seen as extra-terrestrials. We are in a universe on an adventurous journey inventing new music whose roots are in “musique concrete” as in serial music around 1950. I would like to briefly mention this connection as it relates to more exact view of my work. For example, the instrument’s manual work may not be reduced exclusively to the work of the record and cross fader, because the cross fader is seen as nothing more than an instrument of volume, i.e. either the sound is on or off. My analysis and the music theory based on it, treats all parameters of music equally whereby instrumental process engineering with tone quality and space movement are equal architects of the musical work which serve and lead to undreamt-of possibilities. However, I would not like to stray too far but it helps to clarify the aspect and variety of “Turntablism” which is such a large area that it has justified nine years of research. Also I would like to point out that my book series does not complicate matters in difficult musicology as it may appear now. For me, the heart of this work is to offer user-friendly manuscripts which everyone can really understand. Since I did not study music and it was the judgment of university graduates which brought my written work into a “correct” form. If “Turntablism” is actually considered a modern sound art, then logic proves that from a musicology point of view. Thus, I have firm conviction that “Turntablism” is still in its embryonic stage, and I want to be someone who comes closer to this point so that in hundred years people can see the life music history wrote.By fate, in 2002 I was lucky enough to hear a speech by Professor Karlheinz Stockhausen possibly the most important musicologist of the 20th Century. At our first meeting I presented “Turntablism” to him and explained my notation system. He was extraordinarily surprised by it and how a turntable mixer looks acoustically which confirmed the feasibility of my work. Finally, I had a university expert on my side and probably the most well-known at that! I was lucky! From this meeting, our pen pal relationship grew and since then he has accompanied my projects with special interest. Now I would like to develop my ideas with turntablist..s all over the world and I would be very pleased to send you additional information". nice greetz from germany
Influences: In einfacher Weise und klarer Sprache wird, in Form einer Buchreihe („Turntablism – Musiktheorie & Instrumentalmethodik“), in die faszinierende Welt des Turntablism eingeführt und systematisch ein Lehrmodell abgeleitet. Ein unverzichtbarer Leitfaden, der endlich Licht in einen bisher undurchsichtigen Dschungel bringt und ein theoretisches sowie praktisches Selbststudium ermöglicht.Anhand umfangreicher Zusatzbücher kann das Verständnis und der Kenntnisstand als Turntablist überprüft und optimiert werden. In einer kompakten Form stellen sie die ideale praktische Ergänzung dar und erweitern bzw. kombinieren, was in den jeweiligen Grundlagenbüchern vermittelt wird.
Sounds Like: „Wenn es sich bei der Kombination aus Mischpult und Plattenspieler tatsächlich um ein Musikinstrument der Neuzeit handelt, so müsste es theoretisch möglich sein, alle Handlungsabläufe ähnlich wie bei einem traditionellen Instrumentarium genau definieren und festlegen zu können. Demzufolge sollte sich die unermessliche Vielfalt aller „bekannten“ und bisher noch „unbekannten“ Scratchtechniken aus ein und dem selben funktionalen Zusammenhang, sozusagen aus einer einzigen technischen Formel heraus entschlüsseln lassen. Dadurch ist es theoretisch möglich, wie in der Mathematik, Ableitungen zu treffen die konsequenterweise zu neuen (allen!) Scratchtechniken führen. Denn die instrumentelle Handarbeit an Plattenspieler und Mischpult ist letztlich nichts anderes, als die Korrespondenz von gezielt rhythmisierten Bewegungsvorgänge an den Spielkörpern Schallplatte und den Schiebereglern des Mischpultes. Daher muss diese instrumentellen Verfahrenstechnik einer prinzipiellen Ordnung unterliegen die es nur richtig zu verstehen und anzuwenden gilt!Daraus ergibt sich der Inhalt dieser Buchreihe: eine Musiktheorie und Instrumentalmethodik speziell für das Scratching, Beatcutting, Tonescratching und Beatjuggling sowie im weitesten Sinne dem Auflegen und Mixen von Schallplatten.
Record Label: Tonspielzeug Verlag