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4
Contents
editorial
NEVILLE DUBE
“What shall we do with the tools?”
PALESA MOTSUMI & TARIRO MUDZAMIRI
The Impact of Covid-19 on the Arts in South Africa
Theme Africa Synthesized
CARINA VENTER & STEPHANIE VOS
Africa Synthesized: Editorial Note
GEORGE E. LEWIS
Recharging Unyazi 2005
MICHAEL KHOURY
A Look at Lightning – The Life and Compositions of Halim el-Dabh
KAMILA METWALY
A Sonic letter to Halim El-Dabh
SHANE COOPER
Tape Collage
ADAM HARPER
Shane Cooper’s Tape Collage – a living archive
HANS ROOSENSCHOON
Tape loops: Cataclysm (1980)
STEPHANUS MULLER
Hans Roosenschoon's Cataclysm: message in a bubble or mere spectacular flotsam?
SAZI DLAMINI
Composing with Jurgen Brauninger: 1989-2019
LIZABÉ LAMBRECHTS
The Woodstock Sound System and South African sound reinforcement
CATHY LANE
Synthesizer and portastudio: their roles in the Tigrayan People’s Liberation struggle - an audio essay.
MICHAEL BHATCH
Africa Synthesized: A Sonic Essay
NEO MUYANGA
Afrotechnolomagic before the internet came to town – How electrons made Africans in music zing
NIKLAS ZIMMER
Interspeller (some B-sides)
WARRICK SWINNEY
House on Fire: Sankomota and the art of abstraction
MAËL PÉNEAU
Beatmaking in Dakar: The Shaping of a West-African Hip-hop Sound
ARAGORN ELOFF
Materials of Relation: A Sonic Pedagogy of Non-Mastery
BRIAN BAMANYA
Afrorack
ZARA JULIUS
(Whose) Vinyl in (Which) Africa? A Zoom Fiasco
galleri
SLOVO MAMPHAGA
Mandela is Dead
&and
Undercommons
HUGH MDLALOSE
Jazz Speaking
IBUKUN SUNDAY
A Peaceful City
NIKKI SHETH
Mmabolela
PIERRE-HENRI WICOMB
A Composition Machine
SONO-CHOREOGRAPHIC COLLECTIVE
Playing Grounds: a polymodal essay
STELARC & MAURIZIO LAZZARATO
Parasite: A Government of Signs
JURGEN MEEKEL
The Bauhaus Loops
borborygmus
KING SV & MARCO LONGARI
The Black Condition
SIPHELELE MAMBA
Enough is enough
SEGOMOTSO PALESA MOTSUMI
Explaining racism
KHANYISILE MBONGWA
Mombathiseni UnoDolly Wam
PHIWOKAZI QOZA
Choreographies of Protest Performance: 1. The Transgression of Space
TSEPO WA MAMATU
The Colonising Laughter in Leon Schuster’s Mr. Bones and Sweet ’n Short
ANA DEUMERT
On racism and how to read Hannah Arendt
TALLA NIANG
Sembène Ousmane
MAVAMBO CHAZUNGUZA
Sacred Sonic Cosmos
GRAYSON HAVER CURRIN
The Saharan WhatsApp Series - an Experiment in Immediacy
BEN EYES
Cross-cultural collaboration in African Electronica
STEVEN CRAIG HICKMAN
The Listening of Horror
MICHAEL C COLDWELL
The Noise made by Ghosts
GABRIEL GERMAINE DE LARCH
I will not be erased
frictions
JESÚS SEPÚLVEDA
Viaje a Tánatos
KATYA GANESHI
From Beyond the World of Dead Sirens
RIAAN OPPELT
(Ultra) Lockdown
SINDISWA BUSUKU
Let’s Talk Kaffir
JOHAN VAN WYK
Man Bitch
MAAKOMELE R. MANAKA
Four Indigenous Poems
claque
KOLEKA PUTUMA
Language & Storytelling: On Zöe Modiga’s Inganekwane
LINDELWA DALAMBA
After the Aftermath: Recovery?
ATHI MONGEZELELI JOJA
Uninterrogated Phallophilia
HILDE ROOS
Sicula iOpera – a raised fist?
PAUL ZISIWE
19 Feedbacks
TSELISO MONAHENG
How to build a Scene
WAMUWI MBAO
Struggle Sounds
MKHULU MAPHIKISA
Short but not sweet: Skeptical Erections and the Black Condition
MBALI KGAME
Tales from The UnderWorld
ekaya
STEPHANIE VOS
The Exhibition of Vandalizim – Improvising Healing, Politics and Film in South Africa
MARIETJIE PAUW, GARTH ERASMUS & FRANCOIS BLOM
Improvising Khoi’npsalms
off the record
KHADIJA TRACEY HEEGER
Lewis Nkosi – treasured memory
LEWIS NKOSI
Jazz in Exile
EUGENE SKEEF
Chant of Divination for Steve Biko
BRENDA SISANE
How I fell in love with music
SAM MATHE
Skylarks
THOKOZANI MHLAMBI
Early Sound Recordings in Africa: Challenges for Future Scholarship
MARIO PISSARRA
Everywhere but nowhere: reflections on DV8 magazine
DEREK DAVEY
Live Jimi Presley 1990-1995
HERMAN LATEGAN
Pentimento
ARGITEKBEKKE
AFRIKAAPS compIete script deel 3
feedback
PHILLIPPA YAA DE VILLIERS
An urgency to action
PABLO VAN WETTEN
Sort of a ramble
the selektah
PONE MASHIANGWAKO
Artists' Prayer - A Tribute to Motlhabane Mashiangwako
hotlynx
shopping
SHOPPING
Purchase or listen
contributors
the back page
MICHAEL TAUSSIG
Unpacking My Library: An Experiment in the Technique of Awakening
© 2024
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    #04
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PIERRE-HENRI WICOMB

A Composition Machine

In order to construct a composition machine, the typical composer has to let go of his/her hold on conventional compositional ‘ideals’.  One obvious change is the aspect of organisation. Whereas a composer would normally follow one specific structuring of the musical content to create a whole, s/he now has to shift her attention to the smaller structural elements of the work to compare it to the machine. The smaller units of a conventional work serve the composition in a ‘linear’ way, but with the composition machine the small parts are repurposed, each balancing a complex relationship of aesthetics and ability to sustain creativity and improvisation. The similarities between the big structure (the potential composition) and small structure is probably more prominent in this environment.  The composition – which exists even less here – becomes a speculative artifact (a work that does not yet exist), an abstract result of possible combinations of musical phrases and sound sections, identifiable by their ability to connect; to be joined together. When considering what the machine is designed to do, it is probably more correct to call it the aesthetics machine – if not the improvisation machine – with its purpose to realise the actions and choices of the listener/performer. The listener/performer’s choices, firstly guided by personal taste, will also – with further acquired knowledge of the system – be steered by the recognisability of sounds within other sounds and subtle aspects of similarity among tracks.

PIERRE-HENRY WICOMB

This machine and its handling could be compared to a three dimensional musical score open to be ‘performed’ by the listener/performer. And this, when explored deeply, will reveal a bias towards certain musical ideas (and therefore outcomes), which in turn could result in a smoother stringing together of musical figures/sounds to form a cohesive narrative. Some tracks, if played from the beginning without interfering, can already exist as watered down compositions, others only form skeletons to be filled up or dismantled further into pieces to be played along with other tracks. Some tracks are less coherent and only function as storage for different sound samples/figures to be implemented with other tracks. One example of a track clearly functioning as a structure for an incomplete composition is the flute track, Track 9 (last track). It is ‘homogenous’ in its flute activity, delineating silent sections of varying lengths. These silences petition for the engagement with other sound units/samples or maybe not, or interact through the manipulation of their durations by jumping ahead. 

The interface of the composition machine consists of 9 playback audio tracks organised in a specific way to foster friendly, experimental interaction. Tracks are populated with self-contained musical units/section/samples varying from 2 seconds to 1 minute 25 seconds of activity. These units are the ‘prescribed’ musical blocks always starting with silence and ending in silence. This makes for a glitch-less implementation of the latter without electronic clicks, which happens if a sound file is played back from anywhere within the sound. Sound sections mostly start on multiples of 10, a useful tip when the starting points of sound units are not yet familiar to the listener/performer, but listening through individual tracks are definitely recommended. A silent section (never shorter than 2,5 seconds) always precede the beginnings of a new sound units/samples to mark these musical sections more clearly. In simplistic terms, mastering the machine lies in memorising the identities of sounds and the starting times of sound units/samples.

It is important to note that tracks are categorised in pairs according to their amount of sound units/samples, for example 3 Units – Track B (B Tracks frequently function as ‘storage tracks’ for samples, while A tracks demonstrate a more ‘musical’ structure). As mentioned, the former starts on multiples of 10 (seconds), but not necessarily on consecutive ones; allow the length of a track to be the guide. Similar musical textures, tone colours, pitches, delay effects, glissandi, ‘melodies’ and rhythms are repeated, sometimes varied, across tracks. This could support a more linear approach to the compositional/improvisational process, rather than relying on the layering of units/sounds. The volume control of each track allows for another layer of manipulation.

To know the playbacks, to know how [similar] sounds are dispersed over the system, will elevate the subjective aesthetic and make the compositional outcome more personal. It can enhance the experience of the machine from the perspective of a performer as bystander, to experiencing it as being a part of it, recalling an interaction comparative to that of playing a type of musical instrument.

2 Units

5 Units

4 Units

3 Units

Flute

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SONO-CHOREOGRAPHIC COLLECTIVE
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Archive About Contact Africa Open Institute