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C0 note (16,35 Hz) — vibrating on liquid surface
D0 note (18.35 Hz) — vibrating on liquid surface
C0 note (16,35 Hz) — vibrating on liquid surface
F0 note (21.83 Hz) — vibrating on liquid surface
G0 note (24.50 Hz) — vibrating on liquid surface
A0 note (27.50 Hz) — vibrating on liquid surface
The project’s aims are:
The project seeks both to support ISCM Member mobility, and to encourage ISCM dialogue, by:
The idea for the project stemmed from the submitters shared observations on the growing number of ways in which composers in our different countries were approaching the business of ‘being a composer in the 21st century’, and that, although these were manifesting in different ways in different contexts, underpinning them all seemed to be a profound shift towards composers seeking more control over how their work was programmed, publicised and presented, and in how they related to audiences. For example:
In Britain there is a sudden explosion in numbers of companies and festivals set up, produced and programmed by composers independently of established organisations, often taking place in unconventional venues and attracting new audiences using the direct relationships offered by social media.
In Croatia, there is a high border between the official (academic) and alternative (underground) musical scenes that is not related to artistic content, but with the politics they (sometimes even not aware of it) proclaim. Of course, the relative position of this divergent creative infrastructure (composer, institution, school, music group, festival etc.) has an impact on the aesthetics, so unfortunately this double (separate, not communal, not exchanging) climate, has had a negative impact on the contemporary music scene. The communicative structure is lost and the academic part of the music scene is losing the capability of perceiving (or even wanting of perceive) the audience’s (or society’s) needs, and is starting to seem self-contained.
In Estonia, during the last years an increasing number of composers have become engaged as artistic directors or programmers of events, sometimes in long-term close collaboration with some musicians or ensembles. Also the role as an educator both to the concert audiences as well as directly in schools has grown noticeably.
In Sweden there is a growing swell of opinion in the artist and composer community towards ‘taking control from the bureaucrats back into the hands of the artists’
The submitters believe that there could be great benefit to the participants, the partner Sections and indeed to ISCM more broadly in