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I WOULD LIKE TO APPLY AT A MUSIC UNIVERSITY AND TO PRESENT TURNTABLISM AS A MUSICAL DISCIPLINE.

AS A WAY OF SAYING THANK YOU GET NEW VIDEOS DAILY IN WHICH NEW SCRATCH & BEATCUTTING TECHNICS WILL BE PRESENTED.

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Alexander Sonnenfeld: "Ten years ago I started to develop a written utility model which shows the complicated manual motions of the Turntablists instrument which can then become systematic and represented using notational symbols. Among them are Scratching, Beatcutting, Tone-Scratching, Beatjuggling and Trickmixing. This book series is developed to tackle the first scientific music analysis of Turntablism apart from normal music theory. The name of this book series; Turntablism Music Theory and Instrument Methodology of a New Sound Art is seven basic books each with 350 - 400 pages. Additional notation exercise books and curricula serve as systematic training for all types of instruments. Therefore, the following elementary question arose at the beginning of my research, if the combination of a mixer and record player is actually considered a musical instrument in modern music, then it should be theoretically possible to define all courses of action in a similar and exact method as is possible with traditional equipment. Additionally, should the immeasurable variety of all admitted and still unknown Scratch technics be from the same functional connection and decoded from a single technical formula? Of course it is theoretically possible, as in mathematics to form derivatives for (all) new Scratch technics. Since the physical work on record players and mixers is basically the same, the correspondence of rhythmic movements and procedures on the record players and the sliding controls of the mixer are also. Therefore this instrumental process engineering must be subject to an order, in principle which is possible to understand, used or apply correctly! My analysis and the music theory based on it, treats all parameters of music equally whereby instrumental process engineering with tone quality and space movement are equal architects of the musical work which serve and lead to undreamt-of possibilities. However, I would not like to stray too far but it helps to clarify the aspect and variety of Turntablism which is such a large area that it has justified nine years of research. By fate, in 2002 I was lucky enough to hear a speech by Professor Karlheinz Stockhausen possibly the most important musicologist of the 20th Century. At our first meeting I presented Turntablism to him and explained my notation system. He was extraordinarily surprised by it and how a turntable mixer looks acoustically which confirmed the feasibility of my work. Finally, I had a university expert on my side and probably the most well-known at that! I was lucky! From this meeting, our pen pal relationship grew and since then he has accompanied my projects with special interest. Now I would like to develop my ideas with turntablist..s all over the world and I would be very pleased if you would support my project.

Tonspielzeug Verlag Germany

Alexander Sonnenfeld & Ronald Kalkowski