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([apl025]__kenneth_kirschner_-_may_3,_1997.nfo)---------------

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APL025 >> KENNETH KIRSCHNER - MAY 3, 1997
	  [04.10.2004 | CALM MICROTONAL PIANO WHITENOISE]


Kenneth Kirschner was born in 1970 in Princeton, New Jersey, and 
began studying piano at the age of 5.  Starting to study 
Composition at College briefly he found the academic atmosphere 
of the time (1988) to be too conservative and stifling, with 
little support for electronic music or for experimental approaches.
He therefore gave up studying Music academically and moved to New 
York City to develop his work on his own.  Kenneth spent the 1990s 
composing and developing his style, while doing occasional 
commissions for ballet and modern dance.  Being aware that soon 
the technology would exist to allow the online distribution of 
music, it was Kenneths ambition to make his work freely available 
online.  He therefore turned to his old friend Taylor Deupree of 
12k, and began a series of CD releases - all under open licenses 
- that have included “post_piano”, “September 19, 1998 et al.”, 
and a number of forthcoming CDs, all of which have been a great 
help in raising awareness of his work.  

Being asked on how he consequently labels all of his works with 
dates, Kenneth comments that when he was very young, he used to 
make up titles for his pieces – which were terrible from Kenneths 
point of view:  “Just pretentious and awful, I thought.  At times 
they even seemed to "damage" the music itself.  I wanted my work 
to remain purely abstract, and for listeners to be able to bring 
whatever meaning or interpretation they wanted to it.”  In 1989, 
Kenneth ultimately decided to start using the dates on which the 
pieces were begun, and it's a system he has pretty much stuck with 
ever since.  “It causes a lot of chaos, of course, as even I 
sometimes can't tell which pieces are which!  But it's something 
that I'm very happy with philosophically”.

On to May 3, 1997.  The piano has always been an important part of 
Kirschners work - not least because it was the first instrument he 
ever learned, and the one he knows best.  May 3, 1997 uses the 
"post.piano" patch described in his liner notes to the post_piano 
CD - it was in fact the first track on which he used this sound.  

Kenneth: “Basically, the sound is a single, 22-khz piano sample that 
has been stretched across the entire keyboard.  In theory, this 
should sound terrible, as it's the exact way you're NOT supposed to 
make a piano patch!  But I've always found it to be the most 
interesting and expressive piano sound I've ever created.  Here, as 
previously noted, the patch uses a microtonal scale, which is another 
factor that differentiates it from a "natural" piano sound.”  But 
that’s not the only element this piece consists of, as Kenneth 
continues: “The percussion sounds, as I mentioned before, were all 
created by sampling various found objects - there are a few actual 
percussion instruments in there, I think, but most of the sounds are 
bits of junk I found, pieces of metal, silverware, random objects, 
etc., that were then further manipulated in the sampler.  As for 
the white noise, well, I added that in because when I first started 
writing the piece, I was concerned that the inherent noise in the 
low-tech piano sample was very obvious and distracting, and I wanted 
something to ‘cover it up’ with.”

The result of May 3, 1997 is a breeding composition, where each of 
the individual components (i.e., each piano motif, each percussion 
sound, each fragment of noise, etc.) was composed in isolation from 
the others, through a spontaneous, highly improvisational process.  
Then, using chance procedures, all of these short fragments were 
randomly arranged in a linear sequence.  Over a long period, this 
rough version is edited down so that all the chance arrangements that 
"don't work" are slowly removed, leaving only the interesting accidents.  
The large-scale structure of the piece is therefore random, but edited 
- the successful moments are retained and emphasized, and the 
unsuccessful ones removed, producing a final narrative that seems to 
have a certain logic and order to it, but which has really just 
"emerged" from a combination of chance and selection. 

--------------------------------------------------------------
:: 1 track :: 37min 23sec :: 52.59 MB ::

01: Kenneth Kirschner - "May 3, 1997"

--------------------------------------------------------------

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APL014 Off The Sky - "Studies of Lifeform In Transit"
APL015 Johan Wieslander - "Gas"
APL016 Fernando Lagreca - "Suave"
APL017 Marsen Jules - "Lazy Sunday Funerals"
APL018 Tlon - "Acoustic Lazy Dolls"
APL019 Gultskra Artikler - "Gololed"
APL020 VA - "Many Things Worth Living For"
APL021 Konrad Bayer - "Shall We Go To The Park?"
APL022 Normal Music - "Let's Do Really Strange Things And Call Them Normal"
APL023 Marsen Jules - "Yara"
APL024 Konrad Bayer - "Songs For Sunhi (Summerrain)"
APL025 Kenneth Kirschner - "May 3, 1997"

--------------------------------------------------------------

[AUTOPLATE]

Sebastian.Redenz..................................[organizing]
Neeme.Oja................................................[php]
Thomas.Ekelund...........................................[gfx]
Benfay.............................................[mastering]
Roland.Fiege.......................................[mastering]
krill.minima.........................................[booking]

--------------------------------------------------------------
AUTOPLATE is a THINNER sublabel for versatile electronic music.

All files in this directory are hiquality 192kbps MP3s 
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--------------------------------------------------------------
also visit THINNER at http://www.thinnerism.org
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.nfo inspired by mono211;ascii by dipswitch;.diz by rasterburn
composed and hacked by sebastian redenz november 22nd 2003

file_id.diz

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