Tag Archives: Radio Corax

Show 815: Mein tiefes Mitgefühl für diesen Ohrwurm by Jasmina Al-Qaisi (Radio Corax)

A show by Radio CORAX, Halle, Germany

Jasmina Al-Qaisi
via archive.org

schnelle musikalische hilfepresents: Mein tiefes Mitgefühl für diesen Ohrwurm

schnelle musikalische hilfe is an imaginary institution that deals with small musical problems as an excuse to start debates on bigger or other variously sized problems.
Every ear worm has a worm in it.

Mein tiefes Mitgefühl für diesen Ohrwurm is a lyrical and musical project that features small sung sentences as symbolic relief for earworms. Throughout four days of radioing at Seanaps festival in Leipzig in October 2020, schnelle musikalische hilfe offered her deepest sympathy to everyone’s earworm and displayed other than the regular ear worm solutions such as: playing sudoku, listening to God Saved the Queen, or avoid late night coffees; and transcended what is scientifically considered the ear worm cause: upbeat tempos or pitch patterns.

Including interviews with: Alina Medoia, Alice Feraru, Borys Slowikowski, Elisabetta Lanfredini, Gustavo Mendez, Heidi Heidelberg (Witch ‘n’ Monk), Kamila Metwaly, Larisa Crunțeanu, Maria Karpushina, Mihai Ogica, Petra Stefania, Ralf Wendt, Regina Sarreiter, Sarah Washington, Stephan Thierbach, Tatiana Lopez, Xiaoshi Vivian Vivian Qin

Produced by Jasmina Al-Qaisi for Radio Corax
more at: https://jasminescu.com/schnelle-musikalische-hilfe

Show 790: Listening’s Urgency by Hardi Kurda (Radio Corax)

Listening’s Urgency
In times of contact restrictions the radio is all the more an instrument to bridge the isolation. What role does listening play in times of crisis? In his project “Listening’s Urgency” the composer and sound artist Hardi Kurda explores this question, searching for the in-between sounds of the medium and the gaps in the social order: Do we overstep the borders of legality by listening? What does illegality mean? Can illegality make noise? Is noise illegal?

For the second performance in the course of the project, Kurda asked musicians, artists and writers from different parts of the world to answer those questions. Their voices and narrations were the basis for a one hour live radio performance with a six-member radio ensemble which came together on Radio Corax on April 26 2020.
For radia.fm Kurda made an edited version of the live radio performance.

Listening Urgency – live radio performance by Hardi Kurda, with: Andre Damiao, live from São Paulo; Maximilian Glass, live from Leipzig; Kamil Korolczuk, live from Berlin; Hardi Kurda, live from London; Soheil Soheili, live from Teheran; Ralf Wendt, live from Halle; and with the voices of: I-ID from Teheran, Kani Kamil from London, Peshraw Mohammed from Berlin, and Niga Salam from Slemani.

Hardi Kurda is currently stipendiary of the Radio Art Residency, an international fellowship program by Radio Corax and the Goethe-Institut.

radioart-residency.net

Show 764: Space – We – Space. A binaural SoundWalk Composition (Radio Corax)

Space – We – Space. A binaural SoundWalk Composition

The city is music. Daily sounds become extraordinary by a shift in perspective. Just get a little bit closer. Objects speaking. Resonance is anywhere. Listen. Let go. Drift. And find a wonderful, creepy, and ensouled world in the hidden sounds.

This binaural field recording composition is based on a sound walk by Geräuschkulisse that took place on November 10, 2019, during Seanaps Festival for transdisciplinary music in Leipzig. The workshop explored the daily and hidden sounds of a post-industrial area close to an old train station that is now frequented for free-time activities. The composition is the result of a live on air experiment in the temporary online radio station of the festival. While Lena Löhr and Martina Weber were leading the 15 participants of the sound walk, Carina Pesch was wandering around as a microphone on two legs. Via streaming box she sent her collected sound treasures live to the studio where JD Zazie was sitting, modulating and composing in real time before airing the live composition. The original was a two hours radio show. The recordings were done using a set of binaural mics and a contact mic. All edited to half an hour of intensive listening, best with headphones.

Credits:
Sound walk composition: Carina Pesch
Workshop led by Lena Löhr & Martina Weber
Live sound recordings: Carina Pesch
Other sound recordings: JD Zazie, Carina Pesch
Live composition: JD Zazie
Postproduction & composition: Carina Pesch
Production management: Tina Klatte / Radio CORAX
Photo: Leon Seidel
Production: GERÄUSCHKULISSE & Seanaps 2019

Long version: https://soundcloud.com/der-textbote/space-we-space-a-binaural-soundwalk-composition

Show 737: No Ravens Left for the Funeral by André Damião (for Radio CORAX)

“No Ravens Left for the Funeral” discusses the juxtaposition of different forms of sound definition mediated by instrumental improvisation with prepared electronic guitar, self-built circuits and other electronic instruments.

André Damião works transversally between the fields of music and electronic art. He graduated in Composition at the State University of São paulo (UNESP), and holds a PhD in Sonology at the University of São Paulo (USP). Currently he is a fellow of the Radio Art Residency at Radio CORAX in Halle (Saale), which is awarded in cooperation with the Goethe-Institut and supported by the Kunststiftung Sachsen-Anhalt. (radioart-residency.net)

Show 709: Find Your Own Raven Voice, by Claire Serres (Radio Corax)

Hi listeners, here I’m talking about the present voice, sharing energy and transformation. Here, I’m talking about performance, about body feeling facing the microphone. I’m a performer, invited for three months of experimentation in the course of the Radio Art Residency at Radio Corax. Here, your are listening to a composition with the voices of Radio Corax members.

Twice a week, I invite a voice of Corax to join me in the studio for a live “Hörspiel”. 

Find Your Own Raven Voice is an on air playground to improvise the deconstruction of language, our uncontrolled voice, and to hear a voice we’ve never heard before.

If you want to find, you have to know how to lose. This is the game.

Give me your tongue and I’ll give you energy.

Claire Serres is a performance artist based in Paris. She considers radio primarily as a real-time medium that invites to play with the quality of the live moment. Currently Serres is the second scholarship holder of the Radio Art Residency, an artist-in-residence program by Radio CORAX and the Goethe-Institut, which makes international activities in the young art genre of radio art visible and audible.

Claire Serres has realized works for documenta 14 Radio (2017), the Strasbourg Museum of Modern and Contemporary Art (2016), and Art’s Birthday 2014 SWR/E-Werk Freiburg. She also works as an editor at the independent radio station Frequence Paris Plurielle 106.3 FM, where she presents the daily current affairs magazine.

http://ligie.org/

http://radioart-residency.net/en/

Show 681: NOTHING LIKE US EVER WAS by Gregory Whitehead & Ice Cristals by Leni Süß (Radio CORAX)

Can radio art comment, torpedo, disrupt and cross the flood of information we are facing today? This show’s radio pieces have in mind the approach of the philosopher Santiago Zabala, who trusts in the power of art works to raise awareness “for an emergency that is absent because of the very danger it implies.”

NOTHING LIKE US EVER WAS
radio performance by Gregory Whitehead
with vocalist Laura Wiens

based on Carl Sandburg’s „Four Preludes on Playthings of the Wind“:

The past is a bucket of ashes.

1

The woman named Tomorrow
sits with a hairpin in her teeth
and takes her time
and does her hair the way she wants it
and fastens at last the last braid and coil
and puts the hairpin where it belongs
and turns and drawls: Well, what of it?
My grandmother, Yesterday, is gone.
What of it? Let the dead be dead.

2

The doors were cedar
and the panels strips of gold
and the girls were golden girls
and the panels read and the girls chanted:
We are the greatest city,
the greatest nation:
nothing like us ever was.

The doors are twisted on broken hinges.
Sheets of rain swish through on the wind
where the golden girls ran and the panels read:
We are the greatest city,
the greatest nation,
nothing like us ever was.

3

It has happened before.
Strong men put up a city and got
a nation together,
And paid singers to sing and women
to warble: We are the greatest city,
the greatest nation,
nothing like us ever was.

And while the singers sang
and the strong men listened
and paid the singers well
and felt good about it all,
there were rats and lizards who listened
… and the only listeners left now
… are … the rats … and the lizards.

And there are black crows
crying, „Caw, caw,“
bringing mud and sticks
building a nest
over the words carved
on the doors where the panels were cedar
and the strips on the panels were gold
and the golden girls came singing:
We are the greatest city,
the greatest nation:
nothing like us ever was.

The only singers now are crows crying, „Caw, caw,“
And the sheets of rain whine in the wind and doorways.
And the only listeners now are … the rats … and the lizards.

4

The feet of the rats
scribble on the door sills;
the hieroglyphs of the rat footprints
chatter the pedigrees of the rats
and babble of the blood
and gabble of the breed
of the grandfathers and the great-grandfathers
of the rats.

And the wind shifts
and the dust on a door sill shifts
and even the writing of the rat footprints
tells us nothing, nothing at all
about the greatest city, the greatest nation
where the strong men listened
and the women warbled: Nothing like us ever was.

ICE CRISTALS (14:00 min, 2017/2018)
by Leni Süß
field recordings: Halle/Saale, 2017, Wegajty 2015, Ürzig 2016 and Baracoa, 2015
Many thanks to the story tellers Anke Zimpel, Sviatlana Haidalionak and Sarah Washington.

Show 650: Preface Demonstration by Friendly Fire (Radio Corax)

The performance-collective Friendly Fire recorded Protest Sounds in Leipzig during the racist mob actions in the last 3 years. You will hear the inner life of protest, scanning the potential of energy, loudness, movement and power.
Friendly fire are: Melanie Albrecht, Michael Wehren and Helena Wölfl and act in public space and radio as well.

http://friendlyfire-friendlyfire.blogspot.de/

Show 622: Radio Unbroken by Helen Hahmann and Gregory Whitehead (Radio Corax)

The Radio Corax Radia programme presents two radio pieces:

Jubeltöne celebrates the joy to listen deeply to the individual stories of musical instruments: their exultation, their memories and their profound protest. A piece for two zithers played by Helen Hahmann.

Radio Unbroken is a songspiel for Radio Revolten made by Helen Hahmann and Gregory Whitehead. The songspiel uses fragments from the manifestos collected at Radio Revolten, a month-long radio arts festival, which took place in Halle, Germany in October 2016.

Radio Unbroken is composed from three “songs”:
I     Lover in Revolt
II    The Future of Radio is Dirty
III   Radio Unbroken

Show 596: our act to time has come by [q_a] (Radio Corax)

political protest is always about delivering a message. about sending a signal to the public.

in this piece i tried to catch the signals to the public of a day in frankfurt, 150318, when the new ecb-tower was opened to the public and when massive protests took place. i made some soundwalks this day and this piece is a version to listen to the music of the streets wrapped up for radio.

//

[q_a] is a sound artist from halle/saale. he experiments with special soundscapes, random noises and acoustical devices, mostly cello. he is a member of the improvisation group “sohne” with whom he performs since 2013. Also he played at improhazard-festival 2014 and 2016 and at blurred edges festival 2015 and 2016. Starting from october 2016 he will study time-based-arts at the burg giebichenstein kunsthochschule halle.

he publishes via:

http://qart.bandcamp.com


https://www.facebook.com/Quastian-b-884103808361533/