{"id":580,"date":"2014-11-09T19:30:00","date_gmt":"2014-11-10T00:30:00","guid":{"rendered":"http:\/\/szsolomon.com\/szswp\/?p=580"},"modified":"2014-11-10T11:14:58","modified_gmt":"2014-11-10T16:14:58","slug":"tolga-yayalar-le-lethe-2005","status":"publish","type":"post","link":"http:\/\/szsolomon.com\/tolga-yayalar-le-lethe-2005\/","title":{"rendered":"Tolga Yayalar &#8211; Le L\u00e9th\u00e9 (2005)"},"content":{"rendered":"<span class=\"medb\"><strong>Tolga Yayalar &#8211;\u00a0<em>Le L\u00e9th\u00e9<\/em><\/strong>\u00a0(2005)<\/span><br \/>For multipercussion and electronics<br \/>Live performance, Berklee College of Music, June 2005<br \/>\r\n<iframe loading=\"lazy\" width=\"500\" height=\"375\" src=\"\/\/player.vimeo.com\/video\/111429389\" frameborder=\"0\" webkitallowfullscreen=\"webkitallowfullscreen\" mozallowfullscreen=\"mozallowfullscreen\" allowfullscreen=\"allowfullscreen\"><\/iframe>\r\n\r\n\r\n\r\n\r\n<p>Le L\u00e9th\u00e9 was conceived as traces and recollections of unconscious materials. We only hear them in the piece in disguised and deformed forms. Although the title refers to the oblivious flow, the piece is actually about remembering. The music that the listener experiences is this distorted recollection. It is the disguised narrative of the unconscious, whose actual content we can never know. The mechanisms of disguised musical ideas are modelled after Freud&#8217;s theory of interpretation of dreams. The first is condensation in which a number of musical ideas are compressed into a single one. This is the mechanism used when the electronics compress long instrumental gestures into a single sonority. It is also apparent in the instrumental part when gestures played by multi instruments move to single or more limited instrumental choices. The second mechanism is the displacement. In the piece, a musical gesture or a sonority is sometimes replaced by something corresponding to it. The idea of the whole gesture is then displaced and projected onto a part associated with it. Both mechanisms are employed to create a complex web of relationships of the musical materials. However, the general trajectory of the piece is quite linear, it moves from non-pitched instruments to pitched ones, while the electronics have a more destructive and transformative role in the beginning, more generative role towards to middle and no role at the end. The form of the piece functions in a very similar way to how memory functions in the case of a trauma. The blurred and disturbing memories are replaced by highly filtered, false and made-up memories of the events. The whole piece is then a deception of the memory.<br \/>-Tolga Yayalar<br \/><br \/><\/p><p>Learn more about Tolga\u00a0<a href=\"http:\/\/www.tolgayayalar.com\" target=\"_blank\">here<\/a><\/p><div><\/div>","protected":false},"excerpt":{"rendered":"<p>Tolga Yayalar &#8211;\u00a0Le L\u00e9th\u00e9\u00a0(2005)For multipercussion and electronicsLive performance, Berklee College of Music, June 2005 Le L\u00e9th\u00e9 was conceived as traces and recollections of unconscious materials. We only hear them in the piece in disguised and deformed forms. Although the title refers to the oblivious flow, the piece is actually about remembering. The music that the [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[11,17],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5qnlH-9m","jetpack-related-posts":[{"id":612,"url":"http:\/\/szsolomon.com\/yesaroun-duo-heavyupheavydown\/","url_meta":{"origin":580,"position":0},"title":"Yesaroun&#8217; Duo &#8211; HeavyUp\/HeavyDown","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":" Yesaroun' Duo\u00a0-\u00a0HeavyUp\/HeavyDownReleased on\u00a0GM Recordings,\u00a02009View the\u00a0complete\u00a0Liner\u00a0Notes.Yesaroun's first release. A two-disc collection featuring the world premiere recordings of works by Jefferson Friedman, CromTech, Tolga Yayalar, Curtis Hughes, Lei Liang, Dominique Schafer, and Robert Hasegawa, plus works by Iannis Xenakis, Karlheinz Stockhausen, John\u2026","rel":"","context":"In &quot;Recording - Yesaroun' Duo&quot;","block_context":{"text":"Recording - Yesaroun' Duo","link":"http:\/\/szsolomon.com\/category\/yesaroun\/"},"img":{"alt_text":"HUHD","src":"https:\/\/i0.wp.com\/szsolomon.com\/szswp\/wp-content\/uploads\/2014\/10\/HUHD.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":769,"url":"http:\/\/szsolomon.com\/john-cage-composed-improvisation-snare-drum-1987\/","url_meta":{"origin":580,"position":1},"title":"John Cage, composed Improvisation for snare drum (1987)","author":"Samuel Z Solomon","date":"November 11, 2014","format":false,"excerpt":"John Cage,\u00a0composed Improvisation for snare drum\u00a0(1987)This work is one of Cage's many \"composed improvisations,\" compositions that are simply written instructions for how to create a piece of music using chance procedures. Cage turned to chance procedures in his music making in the early 1950's as a way of further deepening\u2026","rel":"","context":"In &quot;Note&quot;","block_context":{"text":"Note","link":"http:\/\/szsolomon.com\/category\/note\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":578,"url":"http:\/\/szsolomon.com\/john-cage-27-10-554-percussionist-1956\/","url_meta":{"origin":580,"position":2},"title":"John Cage &#8211; 27&#8242; 10.554&#8243; for a percussionist (1956)","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"John Cage - 27' 10.554\" for a percussionist (1956)For multipercussion and electronicsLive performance, Juilliard School, April 2003Video is in three parts. Listen one at a time, or all at the same time! John Cage \u2013\u00a027' 10.554\" for a percussionist\u00a0(1956)27' 10.554\" for a percussionist\u00a0is the last piece of a collection of\u2026","rel":"","context":"In &quot;Recording - Solo&quot;","block_context":{"text":"Recording - Solo","link":"http:\/\/szsolomon.com\/category\/solo\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":764,"url":"http:\/\/szsolomon.com\/ryan-streber-dosillos-y-humeros-2005\/","url_meta":{"origin":580,"position":3},"title":"Ryan Streber &#8211; Dosillos y Humeros (2005)","author":"Samuel Z Solomon","date":"November 11, 2014","format":false,"excerpt":"Ryan Streber -\u00a0Dosillos y Humeros\u00a0(2005)Dosillos y Humeros\u00a0for solo percussion was composed for Sam Solomon in the late summer and fall of 2005. The title, which translates as\"duplets and chimneys\", also forms an anagram (without the \"y\") of the words \"Helios\" and \"drum solos\". The name \"Helios\" in this context does\u2026","rel":"","context":"In &quot;Note&quot;","block_context":{"text":"Note","link":"http:\/\/szsolomon.com\/category\/note\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":582,"url":"http:\/\/szsolomon.com\/ryan-streber-compassinges-2003\/","url_meta":{"origin":580,"position":4},"title":"Ryan Streber &#8211; Concentric","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"Ryan Streber\u00a0-\u00a0ConcentricReleased on\u00a0New Focus Recordings,\u00a02014Featuring SZS on Compassinges (2003) for marimba\/vibraphone and sound filesand Line C3 on Cold Pastoral (2004)\"Compassinges\" for solo percussion and electronics (2003) is a single movement work arising from the imbrication of two independent pieces - a fast and highly canonic movement, and a slow, atmospheric\u2026","rel":"","context":"In &quot;Recording - Solo&quot;","block_context":{"text":"Recording - Solo","link":"http:\/\/szsolomon.com\/category\/solo\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/szsolomon.com\/szswp\/wp-content\/uploads\/2014\/11\/fcr155_cover500_8d52adc48137e50a59221160eaa13a4c-150x150.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":564,"url":"http:\/\/szsolomon.com\/waiteata-collection-new-zealand-music-volume-8\/","url_meta":{"origin":580,"position":5},"title":"Waiteata Collection of New Zealand Music, Volume No. 8","author":"Samuel Z Solomon","date":"November 9, 2014","format":false,"excerpt":"Waiteata Collection of New Zealand Music, Volume No. 8\u00a0Released by\u00a0Waiteata Music Press, 2005This collection features the Yesaroun' Duo's world premiere recording of\u00a0Miriama Young's\u00a0Snapdragon\u00a0(2003) - written for Yesaroun'Purchase the disc from\u00a0SounzLearn more about Miri at\u00a0hereLearn more about the Yesaroun' Duo at\u00a0www.yesaroun.com\u00a0 Credits:Recorded June 2004Princeton University's Taplin HallMary Roberts, engineerproduced by Yesaroun'\u2026","rel":"","context":"In &quot;Recording - Yesaroun' Duo&quot;","block_context":{"text":"Recording - Yesaroun' Duo","link":"http:\/\/szsolomon.com\/category\/yesaroun\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"_links":{"self":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/580"}],"collection":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/comments?post=580"}],"version-history":[{"count":4,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/580\/revisions"}],"predecessor-version":[{"id":676,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/posts\/580\/revisions\/676"}],"wp:attachment":[{"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/media?parent=580"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/categories?post=580"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/szsolomon.com\/wp-json\/wp\/v2\/tags?post=580"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}