Audio-Visual Course- Creative Musical Exercises

A seminar that included lectures on history and theory was held from the fall of 1988 through to the spring of 1991 at the Academy of Appplied Arts. It was continued from 1992 at the Academy of Fine Arts by Benedek Tóth (member of the Compon-ensemble) and Zoltán Szegedy-Maszák.

This audio-visual course never repeats itself, even though the theme is always the same: sight and sound, picture and music, colour and tone; the correlation in it’s various ways of visual and auditory rythme, examination of the associations between the parallel and the united - in practice: firstly in the form of short video etudes, as raw recordings or modified, by small groups, but individual traditional visual works might also be studied. Descriptive-music - musical picture as a possibility, as a goal, and later in the movies the equal treatment of both sound and image, are not today’s invention: its history reaches back into the 17th century when the first theatre organ was built and it reached its climax last in the 20’s in the experimental musical films (Eggeling, Fischinger, Richter). The foundation of this endeavour is the conscious use that man makes of his in-bred synaesthesia and his capability of expression, also that the creations and assertion of man should win multifold validity similar to that of living organisms.

Taking part in making music may lead to discoveries in itself: the capability of observing of the spatiality and movement in space of music becomes stronger and the sense of space and time comes to have quality and proportions differing from the usual. In a group effort the participants are tuned to one another. In playing this music, abso-lute hearing and musical training is not necessary, only attention (patience) and the ca-pability to concentrate. In the creative musical exercises the use of a home made drum-like interments or other sound making object(s) is advised. The participants record the exercises on video, which is not a stereotype or documentary way of recording the sen-sed expressions of sounds and rhythm.

Dóra Maurer (1993)