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Les Macrotonalit​é​s

by Vladan L. Kuzmanović

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Les Macrotonalités

Vladan Kuzmanović experiments with ultrasonic, subsonic music, compositions beyond the threshold of acoustic audibility in the works “Few exoacoustic pieces”. 2020 is the year of macrotonal tests, which are obtained by defining a macroton and its distinctions through the triple microton-ton-macroton scheme. At the same time, he strives to reach the limits of macrotones, and above all to determine the limits and possibilities of macrotonal music. Ambient and electroacoustic music, as well as the author’s tonal albums, have already opened up great possibilities for macrotonal works. The tone / macroton sound exhibits for a few minutes at an unlimited duration, due to the extreme duration, fragmentary performances and fragmentary recordings appear.

Macrotones sound like unison, multivocals, megaliths, monoforms, an infinite soundscape. The impression is given to them by a timeless, offbeat, lasting sound, which emphasizes contemplation, interference with eternity, a comprehensive and holistic vision. Listening to the fragments simultaneously allows a transposition and a complete duration, creating an aesthetic and spatial perspective. These stunning sound monoforms encourage a sense of time awareness and sound causation.

Acute, feminine, polyvocal, in unison, macro-vocal choral compositions, with basses, mega-forms, of contemplation, of exospection, of exposure, surpon, climax and insight. Macrotones emphasize the temporal and spatial awareness of sound, the awareness of sound as a form of articulation.

The following year begins with multichannel research, format A, quadriforms like 90 degrees chif. 8, hexagon, 5.1., Format B ACN / SN3D. He composes ECP with an extravagant approach, imitating the unusual in a unique progression.

Exoacoustic music can also be explained as ultrasonic or subacoustic music outside the threshold of audibility, and is closely related to sublimative music, the reception of which is subconscious, frequent, informal, background. In essence, exoacoustic music mimics background music and ambient sounds, which exist as composite noise or silence.

We also absorb exoacoustic units as well as sublimating music, unconsciously and in the background. Silence is in all respects a concept, silence is a theoretical variable, a scalar concept. Silence is a scalar tone, music. Silence is a conceptual tone, which means that there are many types of silence, and they concern above all the relationship to this silence: like an absence, an exovariable sound, the presence of sound. Silence is not only sensual, but also conceptual, modal. What we hear, what we think we hear, what we think we can’t hear …

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released April 8, 2021

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Vladan L. Kuzmanović Belgrade, Serbia

Classical serendipitous
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