{"id":4401,"date":"2023-03-15T13:06:09","date_gmt":"2023-03-15T13:06:09","guid":{"rendered":"http:\/\/www.freunde-guter-musik-berlin.de\/?p=4401"},"modified":"2023-04-22T09:07:56","modified_gmt":"2023-04-22T09:07:56","slug":"charlemagne-palestine-jessica-ekomane","status":"publish","type":"post","link":"https:\/\/www.freunde-guter-musik-berlin.de\/?p=4401&lang=en","title":{"rendered":"Charlemagne Palestine, Jessica Ekomane"},"content":{"rendered":"

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Broken Music Vol. 2_Live<\/h2>\n

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Saturday, April 22, 2023, 8:30pm<\/u><\/strong><\/h3>\n

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Jessica Ekomane
\n<\/strong>Multivocal<\/strong> \u2013 quadraphonic live performance<\/p>\n

Jessica Ekomane is a French-born, Berlin-based live electronic musician and sound artist. Her practice unfolds through live performances and installations. Ekomane creates situations in which sound becomes a transformative element between space and audience. Her quadraphonic performances, characterized by their strong physical affect, seek a cathartic effect via the interplay among psychoacoustics, the perception of rhythmic structures, and the oscillation between melody and noise. Her ever-changing and immersive sonic landscapes are based on questions such as the relationship between individual perception and collective dynamics, or the exploration of listening expectations and their social roots. In her quadraphonic concert installation Multivocal<\/em>, Ekomane unfolds a polyphonic labyrinth that addresses both the body and the mind – a generative exploration of rhythm and spatial perception. A steady rhythm, entirely static, is broadcast through each of the four speakers. Uniform pulses, differing in tempo by a millisecond, begin to beat together, then pass gradually into organic phases, evolving constantly mutating rhythmic patterns until, in the end, they move again in unison. (Photo: Camille Blake)<\/p>\n

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Charlemagne Palestine
\n<\/strong>Strumming Music <\/strong>\u2013 solo piano<\/p>\n

Charlemagne Palestine is an alchemist of timbres and vibrant textures. He was shaped by his early musical experiences as a singer and later a cantor at the synagogue. At sixteen, he already performed on the carillon at St. Thomas Episcopal Church in New York. Early on, he began developing his own idiosyncratic technique for keyboard instruments (carillon, organ, piano) \u2013 \u201cstrumming,\u201d a rapid and polymetric repetition of keystrokes producing powerful, shimmering clouds of sound with an extremely rich and variable texture of overtones, beats and vibrations. This intensively physical quality of sound piles up in his famous Strumming Music<\/em> for solo piano, first released on his now legendary 1974 LP of the same name. Palestine performs Strumming Music<\/em>on a large concert grand piano, preferably a B\u00f6sendorfer Imperial. The thrilling 50-minute ecstatic improvisation is an unremitting flow of repeated chords, from which iridescent, spectral clusters and dense, constantly shifting, quasi-organic sound structures unfold. The ecstatic musical language is in a constant process of transformation that Palestine also understands as a spiritual evolution. As a visual artist, he is best known for his installations with plush animals. They also make an appearance in his Berlin performance. (Photo: Agnes Tania)<\/p>\n","protected":false},"excerpt":{"rendered":"

Broken Music Vol. 2_Live   Saturday, April 22, 2023, 8:30pm   Jessica Ekomane Multivocal \u2013 quadraphonic live performance Jessica Ekomane is a French-born, Berlin-based live electronic musician and sound artist. Her practice unfolds through live performances and installations. Ekomane creates situations in which sound becomes a transformative element between space and audience. Her quadraphonic performances, characterized by their strong physical affect, seek a cathartic effect via the interplay among psychoacoustics, the perception of rhythmic structures, and the oscillation between melody and noise. Her ever-changing and immersive sonic landscapes are based on questions such as the relationship between individual perception and collective dynamics, or the exploration of listening expectations and their social roots. In her quadraphonic…<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[28,32],"tags":[313,312,34,314],"_links":{"self":[{"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=\/wp\/v2\/posts\/4401"}],"collection":[{"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4401"}],"version-history":[{"count":7,"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=\/wp\/v2\/posts\/4401\/revisions"}],"predecessor-version":[{"id":4619,"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=\/wp\/v2\/posts\/4401\/revisions\/4619"}],"wp:attachment":[{"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4401"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4401"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.freunde-guter-musik-berlin.de\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}