Klang Moor Schopfe 2019

30.08.2019 | 00:00 – 08.09.2019 | 23:59

Gais (CH)

Klang Moor Schopfe: Das Audio-Festival macht zeitgenössische Klangkunst hör- und erlebbar. Die zweite Edition bringt vom 30. August bis 8. September 2019 situations- und ortsbezogene Installationen nationaler und internationaler Kunstschaffender, Soundtüftler und Tonkünstlerinnen nach Gais AR. Das Hochmoor mit seinen Riedwiesen und die dazu gehörenden Scheunen am Fuss des Hirschbergwaldes bilden die räumliche und akustische Ausgangslage – elf ursprünglich landwirtschaftlich genutzte Scheunen im Umkreis von 500 Metern und das Schützenhaus werden von den Künstlerinnen und Künstlern mit ihren Soundinstallationen bespielt.

Am Festival Klang–Moor–Schopfe produziert Norient 11 Podcasts, welche die Installationen in den Schöpfen porträtieren, kommentieren und remixen. Die Besucher*innen können sie online unter norient.com und klangmoorschopfe.ch hören – oder am besten direkt vor Ort auf der Audiocouch im Schützenhaus.

Die Künstler*innen von Klang More Schopfe Edition 2019: Georg Breinschmid AT, Dimitri de Perrot CH, Ramon De Marco CH, Jan Vorisek CH, Nika Schmitt LUX, Ludwig Berger IT/CH, Noise Aquarium USA/AT, Julie Semoroz CH, Jacob Kirkegaard DK, A³ [Atacama x Amazon x Alps] CL/BR/CH, Marco Barotti IT/DE, Norient CH und Serafin Aebli CH.

Die Installationen sind vom 30. August bis 8. September 2019 täglich von 10:00 bis 19:00 Uhr geöffnet.

Das Rahmenprogramm

Do 29.08.

16:00
Es beginnt zu tönen

18:55
Begrüssung

19:00 Konzert
Mette Rasmussen DK / NO
Einblasen: Klang Moor Schopfe Opening
Saxofon, solo

Fr 30.08.

18:00 Artist Talk
Jacob Kirkegaard
Schopf N°9
Moderation: Frank Heer, Journalist

Ab 19:00
Konzert
Labyrinthitis
Jacob Kirkegaard DK
Earsideout: Wenn die eigenen Ohren zu klingen beginnen

Am Plattenspieler
Albert Oehlen CH
Bringt seine Plattensammlung

Konzert
Victoria Vesna USA
Solo-Performance

Konzert
Elektrisches Stoss-Jodeln
Luke Calzonetti USA, Elektronik
Wendy Gondeln DE, Violine
Norbert Möslang CH, Cracked everyday-electronics

An der Bar
Sitterwerk St.Gallen

Sa 31.08.

11:00 Rundgang
Von Schopf zu Schopf
Patrick Kessler, künstlerischer Leiter von Klang Moor Schopfe, führt durch die Installationen

12:00 Workshop für Kinder
… hörst du das Gras wachsen?
In diesem Kurs kannst du dir eine elektronische Klangverwandlungsmaschine löten. Damit machen wie uns wie Detektive auf die Suche, was, wo, wie klingt. Was für Geräusche entdeckst du im Hochmoor? Wie klingen sie aus deiner Verwandlungsmaschine? und vielleicht kannst du damit sogar das Gras wachsen hören.

Mit Veronika Klaus, Audio-Designerin
Ab 9 Jahren, Dauer 2h, Anmeldung erforderlich
CHF 30.- inkl. Material, max. 10 Teilnehmende
info@klangmoorschopfe.ch

13:00 Artist Talk
Ramon de Marco CH
Schopf N°3
Moderation: Stefan Baumann, Musiker

15:00 Workshop für Kinder
… hörst du das Gras wachsen?

16:00 Artist Talk
Marco Barotti IT/DE
Schopf N°11
Moderation: Frank Heer, Journalist

17:30 Gespräch
3 Künstler*innen
3 Klimazonen
3 Residenzen
A³ [Atacama x Amazon x Alps]
Daniel Reyes León CL, Luisa Lemgruber BR und Benjamin Muzzin CH erzählen
Moderation: Frank Heer, Journalist

Ab 19:00
Konzert
The Capacity of Things to Act
Veronika Ehrensperger CH, Harfe
Ludwig Berger IT/CH, Elektronik
Kopfhörerkonzert für präparierte Harfe und Mikrofon

Konzert
Otomax LUX/NL
Nika Schmitt mit Mike Moonen, Joep Hinssen, Paul Devens und Fran Hoebergen
Ein Tisch voll Elektronik

Konzert
Julie Semoroz CH
Stimme und Elektronik

Konzert
Luisa Lemgruber BR
Feldforschung und Elektronik aus Brasilien

Am Plattenspieler und an der Bar
Palace St. Gallen

So 01.09.

12:00 Workshop für Kinder
… hörst du das Gras wachsen?
In diesem Kurs kannst du dir eine elektronische Klangverwandlungsmaschine löten. Damit machen wie uns wie Detektive auf die Suche, was, wo, wie klingt. Was für Geräusche entdeckst du im Hochmoor? Wie klingen sie aus deiner Verwandlungsmaschine? und vielleicht kannst du damit sogar das Gras wachsen hören.

Mit Veronika Klaus, Audio-Designerin
Ab 9 Jahren, Dauer 2h, Anmeldung erforderlich
CHF 30.- inkl. Material, max. 10 Teilnehmende
info@klangmoorschopfe.ch

13:00 Artist Talk
Julie Semoroz
Schopf N°8
Moderation: Theresa Beyer, Kuratorin Norient, Musikredaktorin Radio SRF2 Kultur

15:00 Workshop für Kinder
… hörst du das Gras wachsen?

16:00 Artist Talk und Performance
Noise Aquarium
Schopf N°7
Moderation: Marcel Elsener, Journalist

Ab 18:00
Serenade

Konzert
El origen de una fragilidad
Daniel Reyes León CL
Performance für eisgekühlte Vinyl-Platte und Plattenspieler

Konzert
Mørk CH
Jaronas Hoehener, Trompete und Flügelhorn Luka Mandic, Gitarre
Louis Laury, Rhodes, Synth Nicolas Wolf, Drums
Minimales aus Gais, Bern und Lausanne

Mo 02.09.

18:00 Spaziergang
Ornithologische Führung durchs Moor
Auf den Spuren der Vögel im Hochmoor mit Röbi Nagel und Rainer Ernst vom Ornithologischen Verein Gais
Ausrüstung: Stiefel und Feldstecher sind von Vorteil

Di 03.09.

18:00 Spaziergang
Vielfältige und heilsame Pflanzenwelt im Moor
Mit Simon Hermann, Drogist und Heilpraktiker in Gais

Mi 04.09.

18:30 Konzert
El origen de una fragilidad
Daniel Reyes León CL
Performance für eisgekühlte Vinyl-Platte und Plattenspieler

19:30 Gespräch
Wasser
Die Schweiz gilt als Wasserschloss Europas. Wie lange noch? Welchen Umgang mit Wasser braucht es in der Zukunft?

Martin Grosjean, Klimaforscher, Uni Bern
Johannes Bodenmann, Wasserschmecker, Gais
Walter Langenegger, Brunnenmeister, Gais
Moderation: Christof Dietler, Agentur pluswert, Chur

Do 05.09.

18:00 Rundgang
Von Schopf zu Schopf
Patrick Kessler, künstlerischer Leiter von Klang Moor Schopfe, führt durch die Installationen

19:00 Filmabend
Die Künstler*innen von Klang Moor Schopfe präsentieren ihre neusten Sound-Videos, ihren liebsten Musikfilm oder Clip.
Zum Programm des Filmabends

Fr 06.09.

Ab 19:00 Carte Blanche

Cave 12 Genf
Der weltweit vernetzte Klub bringt aktuellste Sounds nach Gais

Dennis Rollet (solo)
Left Bank (duo)
Office de pute (duo)

An der Bar
Nextex St. Gallen

Sa 07.09.

11:00 Rundgang
Von Schopf zu Schopf
Patrick Kessler, künstlerischer Leiter von Klang Moor Schopfe, führt durch die Installationen

13:00 Artist Talk
Dimitri de Perrot CH
Schopf N° 2
Moderation: Patrick Kessler

16:00 Artist Talk
Ludwig Berger IT/CH
Schopf N°6
Moderation: Marcel Elsener, Journalist

17:00 Gespräch
Bienen und ihre akustische Kommunikation
Der Bienenexperte Jürgen Tautz aus Würzburg DE im Gespräch mit Ludwig Berger

Ab 19:00
Konzert
Luisa Lemgruber BR
Feldforschung & Elektronik aus Brasilien

Konzert
Julie Semoroz CH
Stimme und Elektronik

Konzert
Dimitri de Perrot CH
Kleine Turntable-Performance

Sound und Visuals
A³ [Atacama x Amazon x Alps]
Wassermusik live
Luisa Lemgruber BR, Benjamin Muzzin CH, Daniel Reyes León CL

Am Plattenspieler
Dimitri de Perrot CH
Legt auf und los

So 08.09.

13:00 Artist Talk
A³ [Atacama x Amazon x Alps]
Schopf N° 10
Moderation: Frank Heer, Journalist

15:00 Konzert
El origen de una fragilidad
Daniel Reyes León CL
Performance für eisgekühlte Vinyl- Platte und Plattenspieler

18:00 Konzert
Mats Gustafsson SWE
Ausblasen: Klang Moor Schopfe Closing
Saxofon, solo

Link

Information

Location

Brunnenau 430
9056 Gais
Switzerland

Sampling Politics Today: Cowerartwork by Studio Flux (2020)

Perspectives on Sampling

01.04.2016 | 00:00 – 30.09.2019 | 23:59

Today the production method and cultural technique of sampling has become a kind of lingua franca for producers in electronic music around the globe. Musicians and producers often sample instruments, field recordings, media material, and previously released music in their tracks. In doing so they transform the meaning of the source material particularly as regards its cultural and political contexts. The PhD project of Norient editor, curator, and scholar Hannes Liechti investigates sampling strategies in (experimental) underground electronic pop music, and aims to contribute to a greater Ethnography of Sampling in music which still has to be written.

Sampling is an issue that has been a topic of controversial discussion since the days of early hip hop in the 1980s. In public discourses as well as in the academic literature the focus has mostly been put on issues of copyright and subsequent questions of originality, authorship, and creativity. A broad study on the production level of sampling is still missing, especially in the field of electronic pop music. More than ten years ago Tara Rodgers pointed out that the «musical and political goals» of samplists haven't been adequately explored (Rodgers 2003: 313) – and this is still the case today.

This project understands sampling as a process, that encompasses (at least) «selecting, recording, editing, and processing sound pieces» (ibid.) and analyses it through the «Referenzanalysekatalog» (RAK – catalogue to analyze the use of references) by Thomas Burkhalter (2015 – see article on Norient.com) with its research perspectives on «music-making as a practice», «music as a media product», and the «musician as an actor». The project focuses on the following questions: Why, what, how and with what consequences are producers today using the technique of sampling? What kind of strategies, positions, attitudes, meanings or discourses are lying behind the procession of pre-recorded sounds in their tracks? How are these strategies being read from actors close to the producers or the broader reception? How do musicians use sampling to achieve nuanced musical expression and cultural commentary? (Rodgers 2003: 313)

Looking at some of the case studies presented in the series «Sampling Stories» on Norient.com, it is clear that sampling is an important means to comment on political and cultural issues. Whether intended as incendiary or not, sampling practices trigger controversial debates: in spring 2017 some media reported on techno DJ Dax J, who sampled a Muslim call to prayer during a live gig in Tunisia. He was sentenced to one year in jail after the gig. DJ Dax J fled the country and apologized on Facebook to the Muslims he offended:

«I am incredibly saddened that anyone would believe that I played a track, featuring a 20 second vocal of the ‹Call To Prayer / Adhan›, for any reason other than its musicality and the beauty of the vocal.» (April 7^th, 2017)

This example shows a gap between the artist’s intention behind the act of sampling and the reception of the musical output. An in-depth analysis of sample-based pop music thus has to take into account particularly the position and habitus of the artist to analyze questions such as: What does it mean when a British techno DJ samples a Muslim call to prayer during a gig in Tunisia? How important are ethical guidelines when it comes to sampling? To what extent does the technique of sampling enhances a frivolous contact with culturally «meaningful» material?

«The accelerated processes of digitalization revolutionized the production of music on many levels. The Internet is a growing super-archive, and the prizes for data storage on computers and online clouds sink. Almost every music and sound is reachable within a few mouse clicks. Acoustic data can be stored and manipulated easier than ever via music software on computers and tablets, steered via midi-controllers and apps.»

Beyer, Theresa, Thomas Burkhalter, and Hannes Liechti. Eds. 2015. Seismographic Sounds – Visions of a New World. Bern: Norient.

Publications

Liechti Hannes. tba. «‹It’s Sharing Your Narrative›: Sampling Strategies in Experimental Electronica. Five Case Studies Between 2015 and 2017.» PhD. Diss. University of Bern. (To be published).

Liechti, Hannes, Thomas Burkhalter and Philipp Rhensius. Eds. 2020. Sampling Politics Today (Norient Sound Series 1). Bern: Norient.

Sampling Stories

In this series tracks from musicians that have been involved in the research are presented to the readers of Norient. These stories of samples and the corresponding sampling strategies provoke feedback, contradictions, and further specification that are included in the research as well. Find all sequels here or in this list below:

Vol. 19: Kritzkom

Inner March For Utopia by kritzkom

Berlin-based producer Kritzkom rarely works with samples and, accordingly, on her 2016 techno track «Inner March for Utopia» synth basses and melodies dominate. But if one digs deeper one can find the traces of a sample of the Kurdish national anthem.

Vol. 18: DJ Raph

Sacred Groves by Dj Raph

After being invited by the Iwalewahaus Bayreuth the Nairobi-based electronic musician and producer did an artist residency in Germany, rummaging through the institution’s extensive music archive of ethnographic field recordings from Africa.

Vol. 17: Lara Sarkissian

kenats by Lara Sarkissian

In the tracks of the San Francisco-based artist, sampling is as much identity-generating as a political tool. Here are five reasons why sampling is so important in the ambient-shaped tracks of the upcoming producer.

Vol. 16: Eomac

Elephant Road by Eomac

Tracing the genesis of a track by producer Ian McDonnell (Eomac, Lakker) we can follow the steps to learn how sampling is used to replace a conventional vocal track and discuss questions on the circulation and handling of media material in times of Web 2.0.

Vol. 15: Eduardo Navas

In this interview Norient asked Eduardo Navas, one of the main scholars theorizing the phenomenon of remix, to clarify some of his points and to talk about algorithms, the surplus of remix studies, and cultural appropriation.

Vol. 14: Olivia Louvel

Music, Awareness & Solidarity w/ Rojava Revolution by Olivia Louvel

It was early 2016 when female:pressure launched their #rojava campaign. With a bundle of tracks and more, they aimed to raise awareness around the resistance movement in Northern Syria. Here we meet one of the artists who have contributed to the project.

Vol. 13: Chino Amobi

Chino Amobi - Airport Music For Black Folk by NON WORLDWIDE

Chino Amobi is heavily sampling in his tracks, from airport soundscapes to chicken clucks and – not least – gun shots. In this short quote he explains why the latter are in fact uniting people.

Vol. 12: Ratkiller

Odor Orienting by Ratkiller

The heavily sample-based tracks by Estonian electronic producer Mihkel Kleis show the total disembodiment of the samples from their sources. This approach becomes apparent when both listening to the tracks but also looking behind the scenes of its production.

Vol. 11: Zavoloka

VOLYA by Zavoloka

«Volya» is the only record so far in which the Ukrainian experimentalist has used sampling material with a strong political connotation: field recordings from the revolutions in Kiev. A background talk about the soundscape of the Maidan.

Vol. 10: YATTA

Spirit Said Yes! by YATTA

It is the very discrete mixture of samples, jazz vocals, folk spirit, live instrumentation and experimental electronics that characterizes the weird and beautiful song sketches of interdisciplinary artist Yatta Zoker from Brooklyn, NY.

Vol. 9: Dr. Das

Sorry, this track or album is not available.

Aniruddha Das understands sampling as a political, yet militant instrument. In the interview he gives insight into his sampling practice and talks about musical exoticism, political meaning, and the use of distortion within his musical production.

Vol. 8: Dubokaj

Alpine Dub by Dubokaj

Digging traces of sampling in the tracks of Swiss producer Daniel Jakob aka Dubokaj led me to two interesting potentials of the production method: sampling as a hidden means of producing tracks and sampling of ambient sounds as cultural signifiers.

Vol. 7: Katie Gately

Color by katie gately

A psychological approach to sampling: the American avantgarde-pop musician Katie Gately samples familiar, sometimes scary sounds and noises form the everyday that are deeply connected to her childhood memory.

Vol. 6: RE:VIVE

010 by Fog Mountain Records

We trace the history of the carillon of the biggest church in Rotterdam, the Grote of Sint-Laurenskerk. Its bell sounds play an important role in the tracks of the compilation «010», released by the Dutch initiative RE:VIVE (by Gregory Markus).

Vol. 5: COOL FOR YOU

MOOD MANAGEMENT by COOL FOR YOU

With her new project, COOL FOR YOU, Berlin-based multidisciplinary artist Vika Kirchenbauer tends to «decompose harmonies as colonizers». What comes out are high-pitched voices, unfamiliar harmonies, and rumbling and raw rhythms.

Vol. 4: M.E.S.H.

Piteous Gate by M.E.S.H.

In times of constantly bubbling news tickers that have long ago stopped covering sport events only, Berlin-based James Whipple has produced a LP that is dealing with the resultant feeling of information overload.

Vol. 3: Moro

MORO - SAN BENITO by MORO

In «Libres» Argentine producer Moro is bridging the Atlantic slave trade with the current refugee crisis. The main element of the track is a sample of chain sounds, transformed into a historically meaningful rhythm.

Vol. 2: Ibaaku

Although it’s been labeled as an afro-futuristic project and also comes along as such through an eclectic and futuristic sound collage, fashion, photography, and music videos, Alien Cartoon by Senegalese producer Ibaaku is deeply rooted in place.

Vol. 1: Ptyl

By using a vast amount of samples from the most well known underground bands, in his track «Drag Dorks in Vampire Suits» Israeli electronic industrial artist Ptyl tries to «criticize musical underground scenes of producing repetitions of the same thing when mimicking a certain style».

Playlist

These tracks served as the basic pool of material for the research project:

Lectures

May 25, 2018, University of Vienna, Institute for Musicology (A)
Collegium Musicum Populare (CMP) by IASPM D-A-CH
Paper: «Prinzipien des Samplings in der Forschung»

December 2, 2017, Bern University of the Arts (CH)
Research Symposium «The Future Sound of Pop»
Paper: «Rattling Chains and Cackling Chickens. Non-Musical Sampling in Experimental Electronic Popular Music»

July 14, 2017, TU Berlin (D)
PhD Workshop: «Cut'n'Paste Culture – Sample-based Pop Music and its Analysis» feat. Bonaventure & Kabuki

June 26, 2017, University of Kassel (D)
19th Biennial IASPM Conference
Paper: «Sampling Politics. Cultural Commentary through Sampling in Experimental Electronic Pop Music»

December 15, 2016, University of Bern (CH)
2. GSA Forschungstag Paper: «Spurensuche im Global Pop»

October 22, 2016, Karl Franzens University Graz (A)
Darüber hinaus ... Populäre Musik und Überschreitung(en). IASPM-D-A-CH-Konferenz 2016
Paper: «Remix von Orts-Referenzen im Global Pop. Ansätze einer multiperspektivischen Track-Analyse»

Bibliography (Selection)

Behr, Adam, Keith Negus, and John Street. 2017. «The Sampling Continuum: Musical Aesthetics and Ethics in the Age of Digital Production». Journal for Cultural Research. Published online 12.6.2017. (http://www.tandfonline.com/eprint/ZfctZMMwxR5sfrsQfgJG/full).

Binas-Preisendörfer, Susanne. 2010. Klänge im Zeitalter ihrer medialen Verfügbarkeit. Popmusik auf globalen Märkten und in lokalen Kontexten. Bielefeld: transcript.

Burkhalter, Thomas. 2016. «Remixing References». Norient. March 28. Accessed November 29, 2019. (https://norient.com/academic/remixing-references/).

Burkhalter, Thomas. 2016. «Wie Schweizer Musiker die Welt vertonen. Künstlerische und symbolische Strategien in translokalen Musikproduktionen». In Unsichtbare Landschaften: populäre Musik und Räumlichkeit, edited by Giacomo Bottà. (Populäre Kultur und Musik 15). 159–77. Münster: Waxmann.

Butler, Mark J. 2006. Unlocking the Groove: Rhythm, Meter, and Musical Design in Electronic Dance Music. Bloomington: Indiana University Press.

Chapman, Owen B. 2011. «The Elusive Allure of ‹Aura›: Sample-based Music and Benjamin's Practice of Quotation». Candadian Journal of Communication 36 (2): 243–61.

Cutler, Chris. 2000 [1994]. «Plunderphonics». In Music, Electronic Media and Culture, edited by Simon Emmerson. 87–114. Aldershot: Ashgate.

Grossmann, Rolf. 2005. «Collage, Montage, Sampling». In Sound. Zur Technologie des Akustischen in den Medien, edited by Harro Segeberg and Frank Schätzlein. 308–31. Marburg: Schüren.

Harkins, Paul. 2011. «Appropriation, Additive Approaches and Accidents: The Sampler as Compositional Tool and Recording Dislocation». IASPM@Journal 1 (1): 1–19. (https://doi.org/10.5429/2079-3871(2010)v1i2.3en).

Ismaiel-Wendt, Johannes. 2011. Tracks’n’treks: Populäre Musik und Postkoloniale Analyse. Münster: Unrast.

Ismaiel-Wendt, Johannes. 2016. post_PRESETS: Kultur, Wissen und populäre MusikmachDinge. Hildesheim: Georg Olms/Universitätsverlag der Stiftung Universität Hildesheim.

Kautny, Oliver, and Adam Krims, eds. 2010. Sampling im HipHop. (Samples 10). GfPM. (http://www.gfpm-samples.de/9Inhalt.html).

Kvifte, Tellef. 2007. «Digital Sampling and Analogue Aesthetics». In Aesthetics at Work, edited by Arne Melberg. 105–28. Oslo: Fagbokforlaget. (https://www.researchgate.net/publication/234037742_Digital_sampling_and_analogue_aesthetics).

Lacasse, Serge. 2007. «Intertextuality and Hypertextuality in Recorded Popular Music». In Critical Essays in Popular Musicology, edited by Allan F. Moore. 147–170. Aldershot: Ashgate.

Metzer, David. 2003. Quotation and Cultural Meaning in Twentieth-Century Music. Cambridge: Cambridge University Press.

Morey, Justin. 2017. A Study of Sampling Practice in British Dance Music, 1987–2012. PhD thesis. Leeds Beckett University. (https://www.researchgate.net/profile/Justin_Morey/publication/319173801_A_STUDY_OF_SAMPLING_PRACTICE_IN_BRITISH_DANCE_MUSIC_1987-2012/links/5996e38e458515017eb38457/A-STUDY-OF-SAMPLING-PRACTICE-IN-BRITISH-DANCE-MUSIC-1987-2012.pdf).

Navas, Eduardo. 2012. Remix Theory: The Aesthetics of Sampling. Wien: Springer. (http://remixtheory.net/?page_id=491).

Ratcliffe, Robert. 2014. «A Proposed Typology of Sampled Material Within Electronic Dance Music». dancecult – Journal of Electronic Dance Music Culture 6 (1): 97–122. (https://dj.dancecult.net/index.php/dancecult/article/view/369).

Reck, Hans-Ulrich. 1995. «Das Hieroglyphische und das Enzyklopädische. Perspektiven auf zwei Kulturmodelle am Beispiel ‹Sampling› – Eine Problem- und Forschungsskizze». In Sampling. Ein Symposium der Lehrkanzel für Kommunikationstheorie an der Hochschule für angewandte Kunst in Wien, edited by Mathias Fuchs and Hans-Ulrich Reck. 6–29. Wien: Hochschule für angewandte Kunst.

Rodgers, Tara. 2003. «On the Process and Aesthetics of Sampling in Electronic Music Production». Organised Sound 8 (3): 313–20.

Schloss, Joseph. 2014. Making Beats: The Art of Sample-Based Hip Hop. Middletown: Wesleyan University Press.

Sewell, Amanda. 2013. A Typology of Sampling in Hip-Hop. PhD thesis. Jacobs School of Music Indiana University. (http://in-the-write.com/uploads/3/3/0/0/3300712/sewell_-_a_typology_of_sampling_in_hip-hop.pdf).

Théberge, Paul. 2003. «‹Ethnic Sounds›: The Economy and Discourse of World Music Sampling». In Music and Technoculture, edited by René T.A. Lysloff and Leslie C. Gay Jr. 93–108. Middletown: Wesleyan Universiy Press.

Williams, Justin A. 2015. «Intertextuality, Sampling, and Copyright». In The Cambridge Companion to Hip-Hop. 206–20. Cambridge: Cambridge University Press.

Nass Makan: Swiss-Egyptian Music Encounter 2019

16.04.2019 | 00:00 – 24.04.2019 | 23:59

Cairo (EG)

Residence of three Swiss musicians together with the Egyptian Mazaher ensemble in Cairo and Fayoum. Intensive musical exchange and rehearsal with final concert in the Egyptian Center for Culture and Arts – Makan in Cairo.

In this intensive workshop the musicians of mainly traditional and improvised music from Egypt and Switzerland worked on their musical differences and similarities, to find a common musical language on this basis. Not the easy «groove» was the goal but a sensitive approach and the development of new musical experiences and possibilities. A project by Pro Helvetia Cairo, Makan Cairo, and Norient.

Artists

Switzerland
Sara Käser (cello)
Hans Hassler (accordion)
Elias Menzi (hammered dulcimer)

Traditional Zar Ensemble Mazaher (Egypt, Cairo)
Om Sameh (main vocal, mazhar)
Om Hassan (back vocal, doholla)
Sabah Back (vocal, mazhar, sagat)
Rafaat Tamboura (hana, main vocal)
Sayed El Araby (back vocal, mangour, mazhar)
Abdalla Kawala Salem (main vocals, hana)
El Shankahawy (back vocals, sagat, hana)
Shadya Mazhar (back vocals)

Curators

Ahmed El Maghraby (Makan)
Johannes Rühl (Norient)

Sounds