{"id":8512,"date":"2014-11-02T18:36:10","date_gmt":"2014-11-02T17:36:10","guid":{"rendered":"http:\/\/blogs.nmz.de\/wm2014\/?p=1007"},"modified":"2014-11-02T18:36:10","modified_gmt":"2014-11-02T17:36:10","slug":"musik-und-technik-i-partitur-hammer","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2014\/11\/musik-und-technik-i-partitur-hammer\/","title":{"rendered":"Musik und Technik I \u2013 Partitur &#038; Hammer"},"content":{"rendered":"<div class=\"shariff shariff-align-left shariff-widget-align-left\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Musik%20und%20Technik%20I%20%E2%80%93%20Partitur%20%26%20Hammer https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2014%2F11%2Fmusik-und-technik-i-partitur-hammer%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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background-color:#3b5998; color:#3b5998\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#3b5998\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 18 32\"><path fill=\"#3b5998\" d=\"M17.1 0.2v4.7h-2.8q-1.5 0-2.1 0.6t-0.5 1.9v3.4h5.2l-0.7 5.3h-4.5v13.6h-5.5v-13.6h-4.5v-5.3h4.5v-3.9q0-3.3 1.9-5.2t5-1.8q2.6 0 4.1 0.2z\"\/><\/svg><\/span><span class=\"shariff-text\" style=\"color:#3b5998\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button info shariff-nocustomcolor\" style=\"background-color:#a8a8a8\"><a href=\"http:\/\/ct.de\/-2467514\" title=\"Weitere Informationen\" aria-label=\"Weitere Informationen\" role=\"button\" rel=\"noopener \" class=\"shariff-link\" style=\"; background-color:#999; color:#999\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#999\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 11 32\"><path fill=\"#999\" d=\"M11.4 24v2.3q0 0.5-0.3 0.8t-0.8 0.4h-9.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h1.1v-6.8h-1.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h6.8q0.5 0 0.8 0.4t0.4 0.8v10.3h1.1q0.5 0 0.8 0.4t0.3 0.8zM9.2 3.4v3.4q0 0.5-0.4 0.8t-0.8 0.4h-4.6q-0.4 0-0.8-0.4t-0.4-0.8v-3.4q0-0.4 0.4-0.8t0.8-0.4h4.6q0.5 0 0.8 0.4t0.4 0.8z\"\/><\/svg><\/span><\/a><\/li><\/ul><\/div><p>Bach und so kann er. Aber nun auch prophezeien. Itzhak Perlman:<\/p>\n<div class=\"fb-post\" data-href=\"https:\/\/www.facebook.com\/Itzhakperlmanofficial\/posts\/10152779409275977\" data-width=\"552\" style=\"background-color: #fff; display: inline-block;\"><\/div>\n<p>Aus dem Bereich, war gut, ist gut, bleibt gut. Auch ohne Einsatz von Technik vermittels Strom kann es zu Pannen kommen. Hier ein sicher verbotener heimlicher Mitschnitt bei den Berliner Philharmonikern. 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Aber nun auch prophezeien. Itzhak Perlman: Aus dem Bereich, war gut, ist gut, bleibt gut. Auch ohne Einsatz von Technik vermittels Strom kann es zu Pannen kommen. Hier ein sicher verbotener heimlicher Mitschnitt bei den Berliner Philharmonikern. 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November 2015","format":"video","excerpt":"https:\/\/youtu.be\/1RjMuB8Qkd8 Es ist ja schon viel \u00fcber die gesellschaftliche Bedeutung und Situation des Komponisten geschrieben worden. Hier sieht man ihn direkt bei der Arbeit. Und wo steht er? Er steht nicht, er sitzt. Und wo sitzt er? Nicht auf einem bequemen Stuhl in einem Komponierh\u00e4usl, sondern irgendwo in der Ecke\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/1RjMuB8Qkd8\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2921,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2009\/10\/schumann-goebbels-dolphy-und-mozart\/","url_meta":{"origin":8512,"position":1},"title":"Schumann, Goebbels, Dolphy und Mozart","author":"huflaikhan","date":"24. Oktober 2009","format":false,"excerpt":"Heute ein anderer Ritt, nachdem gestern noch das Balanescu Quartett mit seiner Kraftwerk-CD zum Abwaschen nachlegen musste. Gut der Zender kann mit der vierten Sinfonie von Schumann schon ganz sch\u00f6n langweilen und die Musik ist wirklich richtig nervend. Wenn einem nichts mehr einf\u00e4llt, wiederholt man sich einfach. Vivaldi kannte wenigstens\u2026","rel":"","context":"In \"Alfred Harth\"","block_context":{"text":"Alfred Harth","link":"https:\/\/www.kritische-masse.de\/logbuch\/tag\/alfredharth\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":477,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/06\/taktlos-78-zukunftsmusik\/","url_meta":{"origin":8512,"position":2},"title":"taktlos 78: Zukunftsmusik","author":"huflaikhan","date":"13. Juni 2004","format":false,"excerpt":"Musik: Xenakis, La legende d'eer [ab 7' etwa] Autor: Wenn eine technische Angelegenheit so beschaffen ist, dass sie zwar im Hier und Jetzt denkbar, aber noch nicht umsetzbar ist, h\u00f6rt man h\u00e4ufig den Satz: \u0084Das ist noch Zukunftsmusik.\u0093 Man kann sich also etwas im Groben vorstellen, aber wie sich diese\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8396,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2012\/02\/potentiale-von-technik-bei-adorno-nicht-die-technik-ist-das-verhaengnis\/","url_meta":{"origin":8512,"position":3},"title":"Potentiale von Technik bei Adorno: \u201eNicht die Technik ist das Verh\u00e4ngnis\u201c","author":"der huflaikhan","date":"13. 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