DE I / DESILLUSIONIST magazine
DE I / DESILLUSIONIST #03 : Jani Christou and His Crash Sheet Music DE I / DESILLUSIONIST #03 : Editorial. Roksolana Chernoba DE I / DESILLUSIONIST #03 : Biophonics: The Power of Divine Vibrations of Voice DE I / DESILLUSIONIST #03 : Polunin. Who Needs Working if Miracle Does Not Happen DE I / DESILLUSIONIST #03 : Vincent Durbak. Jewell Tunning DE I / DESILLUSIONIST #03 : Baroque girls:  Deborah York, Lydia Teuscher, Anna Bonitatibus DE I / DESILLUSIONIST #03 : Table Of Contents DE I / DESILLUSIONIST #03 : Menegetti. Two Morals of Wisdom DE I / DESILLUSIONIST #03 : Give Zholdak Back DE I / DESILLUSIONIST #03 : Events 2006. We at DE I would like to mention DE I / DESILLUSIONIST #03 : The New Guinean Experience DE I / DESILLUSIONIST #03 : The Apocalypse of Geidar Dzhemal DE I / DESILLUSIONIST #03 : Piano Casa of Peter Aidu
DE I / DESILLUSIONIST magazine#03

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DE I #03: Jani Christou and His Crash Sheet Music

Jani Christou and His Crash Sheet Music

The untimely death in 1970 did not let the world of today celebrate the 80th anniversary of the composer known as the Metaphysician of Music in his own presence. A son of a rich family, a student of philosopher Ludwig Wittgenstein and psychologist Carl Gustav Jung, he was an amateur composer not unlike thousand others, until his brother died in a car crash. This replaced conventional language and aesthetics of music in his works to expressions of tragedy in performance. His sheets would require that musicians shout at each other wielding their instruments, the conductor would rush across the stage or read texts out loud. Europe commemorates his memory yearly in a festival, as it is completely evident that his torn and uncompleted works belong to the cultural heritage of humanity.

'Any living art keeps generating an overall logic fed by a collectivity of characteristic actions. Whenever an action is purposefully performed to conform with the current overall logic characteristic of the art, that action is a "praxis", or a purposeful and characteristic of action. But whenever an action is purposefully performed so as to go beyond the current overall logic characteristic of the art, that action is a "metapraxis", or a purposeful non-charactristic action: a "meta-action". Thus, in the performing arts, any action which requires its performer to go beyond the current logic of the medium to which he belongs, requires him to go beyond the logic of his world of action, as it were. That action is a "meta-praxis", and it is purposefully "non-characteristic". Conversely, an action which does not conform purposefully with the current logic of that medium is a "praxis" as long as it is purposefully "characteristic". For instance, a conductor conducting during a concert is a praxis, but if he is also required to walk about, speak, scream, gesticulate, or perform any other action not strictly connected to conducting, that could be a metapraxis... On the other hand, if an actor, say or a dancer, is called upon to perform during a "mixed-media" piece, and he is required to scream, laugh, move about, dance, gesticulate, or whatever, he could merely performing a praxis, and not a metapraxis.

The function of music is to create soul,
creating conditions for myth,
the root of all soul.
Where there is no soul,
music creates it.
Where there is soul,
music sustains it.'

© DE I / DESILLUSIONIST #03.  


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