Kratz n.2
Music and Institution

Synopsis of Kratz n.2

Kratz's objective is to create a space for reflection where music plays the leading role. But not as an object of thought, but as its engine. Music has traditionally been forgotten in many areas of theory or considered merely as a subject for those disciplines in charge of analysing artistic products and creations. The objective -modest and ambitious at the time- of this publication is to show how to think about music is to open a dialogue of great theoretical richness between it and disciplines of all kinds. Kratz, therefore, questions the fragile division between themes, currents, movements and lines of thought. He also criticizes the fact that reflection should only be for scholars or theoreticians locked up in offices in universities that are the memory of what they could be. Under the premise that we all ask ourselves questions, Kratz invites the reader, wherever he comes from, to ask them of himself while he reads, even against himself. He wants to make think, musicians, not musicians, music lovers, not amateurs: simply to all those who are not afraid to ask themselves and to those who believe that music is always an irresolvable challenge. He renounces coagulated definitions of the organization of sound and silence, which would be music. Doubt of totalizing statements. He assumes that we are not going to reach any final point, but -like Baudelarie- he raises anchors and lifts the candles towards the deep, towards the unknown. Kratz, from Germany, comes from scratching, scratching, annoying. It is provocative: it seeks to scratch, scratch, annoy the beliefs and common places of our readers. Because another of the possible origins of the word comes from "Kraz", it is deicr, "Kraft", which means strength in German. Each number is different not only in its content but also in its form. We believe that the division between the two elements does not occur in any field, no matter how much it has been forced to do so. For this reason, design is increasingly thought of according to the letters, themes, motifs, people and ears that cross in the magazine. We don't want to turn our readers into collectors (if they don't want to) nor do we pursue the fetishism of the one and only. But we want design to be part of the reading experience as well. That the sign of writing does not copy the abstract world of ideas, but that these are set in motion only by means of the sign, which is stroke, image, mute sound, mark, trace. Perhaps another wound as well. Translated with www.DeepL.com/Translator