<div dir="ltr"><font size="2"><span style="font-family:georgia,serif"><font size="2"><span style="font-family:georgia,serif"><b>New transcript available online: PROBES #15, curated by Chris Cutler</b><br><br>In PROBES #15
we look at experimental uses of the more intractable folk instruments:
banjo, bagpipes, hurdy gurdy and harmonica. Is nothing sacred?<br><br></span></font>Link: <a href="http://rwm.macba.cat/en/extra/probes15-chris-cutler-transcript/capsula">http://rwm.macba.cat/en/extra/probes15-chris-cutler-transcript/capsula</a><br>PDF: <a href="http://rwm.macba.cat/uploads/20151008/15probes_transcript_eng.pdf">http://rwm.macba.cat/uploads/20151008/15probes_transcript_eng.pdf</a><br><br>In
the late nineteenth century two facts conspired to change the face of
music: the collapse of common practice tonality (which overturned the
certainties underpinning the world of art music), and the invention of a
revolutionary new form of memory, sound recording (which redefined and
greatly empowered the world of popular music). A tidal wave of probes
and experiments into new musical resources and new organisational
practices ploughed through both disciplines, bringing parts of each onto
shared terrain before rolling on to underpin a new aesthetics able to
follow sound and its manipulations beyond the narrow confines of
'music'. This series tries analytically to trace and explain these
developments, and to show how, and why, both musical and post-musical
genres take the forms they do. <br><br>>><a href="http://rwm.macba.cat/en/probes_tag">And here</a> you can find the complete series of PROBES</span></font></div>