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Our noion mix for Dunlab is available to listen back!
For this mix, we selected music by some of the artists and composers who have inspired us over the years — including Gavin Bryars, Jürg Frey, Valentin Silvestrov, Stuart Dempster, Morton Feldman and Jóhann Jóhannsson — alongside excerpts from our…
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Wandelweiser: Music Between Sound and Silence
Between the presence of sound and the depth of silence exists a fragile territory where music becomes a form of attention. Wandelweiser has explored this territory for more than three decades, creating works that invite us to reconsider time, perception,…
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Morton Feldman: “Why does music travel?”
“Another question that musicology doesn’t answer: Why does some music travel while other music doesn’t? Why is it that, in a given country, someone will write music that everyone will love but that no one outside the country will ever…
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What is a label?
Why start a new music label? And what is a label? The definition that immediately comes to mind is that a label is an organization that produces and markets music. It can also be defined as a brand, serving to…
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About Deep Listening
This concept is paradoxical. We intuitively imagine listening as a form of attention that unfolds over time, horizontally, in a diachronic manner. Depth introduces the notion of space—a layering of levels starting from the surface. Deep listening, therefore, goes beyond…
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The Haslinger / Wittman Workshop
Our materials are sound objects. Some are round, others square, others linear, and still others have completely irregular shapes. Some of these objects have a smooth surface, others a rough one; they may be brightly colored or pastel, and sometimes…
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Maps and Scores
“You know, there are all kinds of maps. There are maps that don’t show any small towns between the big cities, and then there are military maps that tell you everything within a fifteen-meter radius. Really, all kinds of maps.…
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Music and Painting (Brian Eno)
“Once music ceases to be ephemeral – always disappearing – and becomes instead material… it leaves the condition of traditional music and enters the condition of painting. It becomes a painting, existing as material in space, not immaterial in time.”…
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Luciano Berio about electronic music
Electronic music only became possible once music ceased to exist as a fixed language and linguistic metaphor, when composers began to invent and develop phonemes (in the sense already indicated by Debussy, for example) rather than manipulating ready-made, ready-to-use words;…
