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Helmut Hattler live: tour dates

Hellmut Hattler's latest project, "Hattler" is gradually becoming increasingly operating inter-act. After the song "So Low" on nearly fifty internationally released compilation albums has landed, the band has now been invited again this year's International Jazz and World Music Festival "to Nanjing (China). Overall, in the framework of this festival HATTLER three performances (November 14 to 17) is posted. More dates for 2008:

02.08.2008: Aalen, Gallows Hill Festival
08/30/2008: Frankfurt Museum Embankment Festival and Jazz Garden
02.10.2008: Stuttgart, Bix
03/10/2008: Worms, Lincoln Theater
04.10.2008: Wetzlar, Franzis
09.10.2008: Weiz (A), Area 52
10/10/2008: Linz (A) Danube
12.10.2008: Heilbronn, Jazz Festival
14.10.2008: Kassel, at the Nile Theater
17.10.2008: Dortmund, FZW
18.10.2008: Olsberg, Old Cinema
24.10.2008: Wilhelmshaven, pumping station
25.10.2008: Bremen, Schlachthof
26.10.2008: Bielefeld, Bunker Ulmenwall
14.-17.11.2008: Nanjing (China), International Jazz and World Music Festival

Kraan also expanded the playing field. This was recently a trio of founding members (Hellmut Hattler (b), Jan Fride (drums) and Peter Wolbrandt (g / voc)) play German band has just returned from a gig at the Goethe Institute in Rome and was (again!) invited to the "ProgDay" Festival 2009 in North Carolina.

are available for this fall, however, primarily in German speaking gigs on the tour schedule:

29.06.2008: Saarbrücken, Old Town Festival
25.07.2008: Spandau, Culture House
30/08/2008: Finke Bach Festival
17.09.2008: Marburg, Cars
19.09.2008: Vechta, Gulfhaus
20.09.2008: Ahaus, Logo
05.11.2008: Bonn, harmony
06.11.2008: Leverkusen, Scala
08.11.2008: Schweinfurt, Stattbahnhof
28.11.2008: Wien (A) 1st Winterthur (CH), Salt House

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The fifth and prospects

The fifth has a special meaning in music.











The analyzed harmonic series offers suggestions in this regard.

Other possibilities for musicians as analysts by taking a vertical or horizontal orientation.

Here are layered notes played simultaneously in a harmonious way and played melodic sequence in different times. The combination of these three options, the fifth unfolds its rich potential - of the reversal has not yet spoken.

The layout of the overtone series, there was also the composer Paul Hindemith fascinating: "The order in which occurred the scale tones from the Erzeugerton in the sounding world, is represented in this book for the intuition of the utmost importance." (Hindemith, 1940. 76)

1 prim
2 octave fifth

3 4 5
fourth major third major sixth
6
7 small third
... 12
augmented fifth

seem to be simple in the fifth-earning tones of melodic lines in particular, the simple-minded.

we note the physical facts in the context of physical overtone series is the winner, which seems superficially simple depth. To demonstrate a key can be easily be posted on the keyboard of a grand piano. For the Critical, who pointed out that while more than one string has been struck, may also be a string can be plucked on a guitar, for the order sought more scientific rigor and can a string be made to sound on a one-string monochord.

is then made to sound a further note, while the first is an allusion to hear, the unfolding complexity is noticeable. And thus begins a fascinating re-examination of phonetic contexts and differences.

The human ear has utilized in its development even before the cognitive knowledge of the physical environment associated with organizing structures. Our ear needed for the genetic evolution of our amazing hearing any musical training. This was done - if at all - until a very late stage.

and simplified during the theorists, practitioners involved in the musical with the highly complex music. But that has

simplistic and its value. No wonder the basic research, where a high respect among connoisseurs. For the simple is surprisingly often more than than what it seems on the surface of the detainees.

Addressing the fifth therefore allows not only the way to simplicity.

literature:
Hindemith, Paul (1940) training in composition. Theoretical part. Mainz: Schott.

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the game off the cuff

"The ancient game off the cuff must appear to be discovered again and again for this interesting and stimulating activity hardly room left. as to reproduce a given musical instrumental tuition largely dominated. Surprising this is not, for instrumental teachers dare because of their education on this often controversial subject area. Half envious, half-hostile, they look at jazz musicians, whose rank is based on improvisational skills "(Ernst, 1999, 50)

source.
Ernst, Anselm (1999) Teaching and Learning in Instrumental Teaching Mainz. Schott

.

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recent posts again at:
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The ritual

1) The stage dancer and music and dance therapist Dr. Yolanda Bertolaso opened the day with a warm up and spring dances. The highlight of the dance was walking in and out of a spiral.
2) then lured Dr. George Franzen in the "House of Colors'. We got a deep insight into his method of receptive art therapy and deep relaxation in stress reduction.
third After the lunch break was devoted my post 'The ritual of music and social work' to the question: How can we bring the ritual in music therapy and music education fruitful?
4) The church musician and music therapist Lothar Beautifully finished this Saturday with his excellent instrument workshop.

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interview













Even today, there was again a great interview. If it continues like this ...

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The string quartet

In the Company of the Black Business is bad. To the operation again on its feet, Director Black desperately needs a bank loan. The summer he hopes to get from a bank director. Since Mr. Summer is a lover of chamber music, invites him to a black director house music night on New Years Eve to him.
with a string quartet, played by hastily recruited in-house musicians of Schwarz, to the bank manager, credit administration''facilitated''are ..
Unfortunately, the musicians do not read notes and have of their instruments no idea ...

the comedy 'The string quartet' by Szöke Szakall is in the House of Culture Fronfeste listed on Roding MO, 30.04.2007, 05.052007 SA and SA 12.05.2007.

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Music and Revolution

Jimi Hendrix combined with his electric guitar in Star Spangled Banner the terror bombing and strafing with the American national anthem.










In the New Year's Eve 1969, he announced his song Machine Gun with the words: "We dedicate this song to all soldiers fighting in Chicago and - Milwaukee, and - in New York. Oh, and all soldiers fighting in Vietnam. " On 30 August 1970 at the Festival of the Isle of Wight were his words. "We dedicate this song to all soldiers who fight in Birmingham, all the skinheads, all the soldiers who fight in London Oh, and all soldiers fighting in Vietnam." (Quoted in Baacke, 1998, 255)

Source:
Baacke, Dieter (1998) Punk and Pop. The seventies and eighties. In Baacke, Dieter (ed.) Handbook youth and music. New York: Rich Bude, 253-274.

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to differentiation of the music therapy from the music education











The difference between music education and music therapy even for many music therapists still unclear. If music therapy would mark as a discipline in this situation is not without problems. Generally, claims to independence be recognized earlier if a certain independence and autonomy has also become apparent. Teachers deal for many centuries with the question of structure and identity: the question of the formation of the personality.
The desire for recognition, the desire for autonomy has something to do with acceptance. Acceptance is, however, also requires a degree of clarity about what exactly has to be accepted. What appears, however dim, requires clarification.

thesis The definition of music therapy and the exact definition of music education is still pending.

we know from science about the importance of clear terms. A certain degree of accuracy and clarity is much in demand. Unless it can be built on clear definitions, aims science after education.

who writes about music therapy and would be taken seriously in science, should therefore know as clearly as possible what he writes. Fuzzy concepts reveal their shortcomings easily. Appears well-founded, which is supported by a solid foundation. Even a high-profile self-description is more acceptable than a vague and fuzzy self-representation. This may be due to their better verifiability. This applies both to the self-description of a man, and for the self-description from the education and diversifying for autonomy and recognition of scientific endeavor be music therapy.
In
autonomy we mean a certain degree of self-determination and a certain independence from the environment. Autonomy is the less, the greater the dependence on the environment. Hence expected from autonomous, a certain autonomy in the self-description. However, if the autonomy is neglected in order to adapt to the environment, autonomy is secondary.

" Summary:
The relationship between music therapy and music education and its problems of definition are determined respectively by the dominant national definitions of music therapy payers towards a delimitation imperative. because the music therapy must meet the relevant legal requirements such as guidelines for the practice of medicine needs. To distinguish between music therapy and music education, various features are cited as they were presented a case study. A final decision on the allocation of a musical activity to a discipline can never be based on a single trait. Rather, the various features are each considered very carefully. "(Plahl, cooking Temmerman, 2005, 63)












a vague reference to a prevailing national definition of music therapy does not replace a personal profile. Desirable would be a clear definition of music therapy. But Christine Plahl Hedwig and offer cooking Temming in their foundations of music therapy with children no precise criteria can be clearly distinguished according to which, where the range ends of music education and leaves the Territorum music therapy.

So, the question of why this boundary is still so unclear.

As it was already craftsmen before their work has been studied scientifically, is experimenting with music in the social sector and in the practice of medicine is already long. From music educators and musicians will not primarily expected that they mastered their work in a scientific manner. Also from the craftsman who will repair a water tap, you do not expect academic lecture, but a re-functioning water tap, which does not drip when he was turned down. For practitioners and those who commissioned, is primarily the result.

So, the question of who ever has a problem with the definition of music therapy and music education. What benefits could be drawn from such a separation?
This question is in the last decades Berufsrollenausdifferenzierung was brought to the attention. How can the process of differentiation took place here Explained? What reasons and motives could have led to it was increasingly important music therapy music education distinguished?
The specialization in a diversifying society could explain the phenomenon. And at some point appear demarcation needs to accompany the process of a new identity. The individual likes to go to a status improvement or a better financial income. But can be also observed a trend of professionalization, including the establishment of music therapy training centers with an increasing number of graduates is to be counted.

If you want to distance themselves, would like to develop their own professional identity, and the corresponding issues will have to make. What exactly is the independence from the music therapy? How music therapy is different from what it is not what is the difference between music therapy and music education, between music therapy and special education, between music therapy and music, social work, between music and music therapy group work, etc.?











Differs music therapy by separate and specific music therapy methods? Where exactly is the difference between a music education and a music therapy? Are there explicit music therapy method which could not be called a music teacher? What exactly can identify a completed music therapy?

Taking the PsychThG in the practice of the payers of health system design, the psychotherapeutic Musikktherapie leaves of non-psychotherapeutic procedures separate with music, but this solution offers no intrinsic identity, because the music therapy is defined by external authorities. This allows the music therapy while having to define yourself, but we feel this as a fairly low level of identity formation. What is an identity, what is this autonomy, if the attribution to maintain the identity of others is absolutely necessary?

Nor can the music education is not simply a distributor of music therapy staked ground. In fact, some music therapy based on explicit music teacher working models. Juliette Alvin, wrote music education books, she described herself not as a music therapist, though she works with sick children and developed a music-pedagogical model for the treatment of autistic children. A 'sick' clientele enchanted music education is not automatically in music therapy!

Juliette Alvin did not require a subtle distinction between music therapy and music education, she did what she did.

Those who advocate a conceptual differentiation of the music therapy from the music education must sharpen up their ideas to take to achieve clarity of focus.











Responsible for scientific definitions are ultimately working scientific researchers. This does not mean that music therapy professional organizations would be without influential in forging identity. But the scientific Distinction between music therapy and music education is an academic matter.

The differentiation of music therapy and music education is - figuratively speaking - in a still rather dull phase. Accordingly, there is the chance to be clarified. The fuzziness of the terms
music therapy and music education is transferred without clarifying the way on the concepts of music therapy research 'and' Music Education Research ': a clean conceptual separation is currently nothing to be found here.











Quote from:
Plahl, Christine Koch Temming, Hedwig (2005) In: Plahl; Temming Koch (Ed.) Music therapy with children. Foundations - methods and practice fields. Bern: Huber.

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"Hey, we have spring. Because of space and time. Spring is a good time, so get out!" Not in space but outside is now what's going on! " said the duck in my dream.

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space and time

The division of time should also be considered, not least from an artistic point of view. Because music is an art in time.

For centuries, scientists and artists therefore seek to explore this phenomenon. These include the largest analyst and theoretician of the respective periods.













This high fascination continues to this day. For despite intense efforts, the ultimate goal was not reached.

Still opened the work of the great explorers, the Cultural Game: Your discoveries and constructions form the foundations of today's artistic analysis and design division at the time.

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a bit afraid of the bass

Orlando Lopez 'Cachaito' as Told in Ry Cooder's film "Buena Vista Social Club ', as he started with music:

" I wanted to learn violin
But my grandfather said:..: No you're playing Bass!
I was a bit scared and it took a while until I was familiar with it.
... When I play I focus very much
I just play a lot. ... make
This music is for me almost a game. "

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In the depth

Not everyone is a friend of the depth.
Who but the depth is not afraid
does not need shallow speech.
It may be dark,
swings it is powerful here.

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supervision with Kevin Pletcher

The psychosocial work makes many long-distance fun and joy. But even if the actual work well with the client running, it is in social work is often very high voltages, which are then shattered if the internal power balance is no longer possible.

therefore includes the participation of supervision and to the mandatory tasks in many multi-professional teams, especially in the field of psychiatry.

If you want to know what is possible, which is a view of the website of the supervisor Ken Pletcher recommended

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report Musikmesse Frankfurt 2007

The percussionist Hakim Ludin impressed on the Agora stage with a three-part performance: 1 Djembe, 2 Congas, 3 Bongos. He hijacked a focused audience in a sphere in which the meaning of the music in it is the heart open.
But as the musicians realized that kidnapping?
It's not just the playful art, but the unusual consistency, told with the Hakim Ludin on multiple sensory levels of his stories. The two of bongo drums provide the advertising of a man to a woman. The man, resourceful, Women reluctant at first. But then, given the macho response and the female drum speaks and opens her heart. The Macho silent: the man listens. So it is probably in love, where is one to listen so much. Hakim Ludin needs no words, is only just the two drums in front of their gender stereotypes. The small drum is the macho, the man and then make music and body language of magical imagination.












Hall 3.0: Here, focus is all about percussion instruments. For me the most fascinating: the percussionist from Jürgen Juergen debt debt presented Conga Trio to the tycoon percussion in the same design and a djembe (see picture above) offers. More information offers tycoon percussion: www.tycoonmusic.com












hall is 4.2 E-guitars and basses. For Vigier, http://vigierguitars.com, shown above fretless guitar fretboard excited with a reflecting some attention.












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The photogenic arrangement with electric guitars, I was able to hindsight is no longer assigned to one exhibitor.
















had great appeal of this guitar. Intense play, lightness and joy not only attracted the audience, but also fascinated by the looks of the exhibitors the adjacent stands. The communicative power of music was here revealed.












EV Funk Alliance made your name: real groove on the Agora stage at Thursday Musikmesse Frankfurt 2007th