A History of Sound Art Arranged and Composed by J Milo Taylor Mixed by Joel Cahen
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A DJ Perspective Paul Bell Submitted in Fulfilment of the Degree of Phd
Interrogating the Live: A DJ Perspective [Electronic Version] Paul Bell Submitted in fulfilment of the degree of PhD, Newcastle University, 2009 i ii Contents Preface……………………………………………………………………........vi List of Media……………………………………………………………………ix Introduction…………………………………………………………………… xiii Chapter 1: Orientation – The Live and the Recorded……………………...1 1.1. The Poles of the Live and the Recorded…………………………….1 1.2. Technological Permeation………………………………………...... ..5 1.3. Live Electronic Music…………………………………………………..9 Chapter 2: Improvisation and Recording………………………………….. 14 2.1. Why Document? …………………………………………………….. 14 2.2. The Paradox in Documenting Improvisation……………………… 15 2.3. How to Document? ………………………………………………….. 17 2.4. Editing Improvisation………………………………………………… 24 Chapter 3: Gesture and Interface………………………………………….. 29 3.1. Sound as Gesture…………………………………………………… 29 3.2. The Body and the Machine…………………………………………. 31 3.3. Gesture and Interface……………………………………………….. 34 3.4. To Cause or Not to Cause: Music Technologies vs. Musical Instruments…………………………………………………………… 37 3.5. Digital DJ Tools………………………………………………………. 39 3.6. Practical Projects…………………………………………………….. 44 3.6.1. Anti Telos……………………………………………………………... 44 3.6.2. Video and Gesture…………………………………………………… 46 iii 3.7. Considering Immediacy in Digital Media………………………….. 49 Chapter 4: Negotiating Unpredictability…………………………………… 52 4.1. The Creative Process……………………………………………...... 52 4.2. Relinquishing Control………………………………………………... 55 4.3. A Virtuosity in Finding……………………………………………...... 56 4.4. Indeterminacy vs. -
A University of Sussex Phd Thesis Available Online Via
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 You Sound Like A Broken Record: A practice led interrogation of the ontological resonances of vinyl record culture. Paul G Nataraj PhD – Creative and Critical Practice University of Sussex December 2016 2 I hereby declare that this thesis has not been and will not be submitted in whole or in part to another University for the award of any other degree. Signature………………………………………………………………………………… 3 ACKNOWLEDGEMENTS This work is dedicated to my Dad, Dr. V. Nataraj. Thank you to my family Mum, Peter, Sophie and Claire. But especially my wonderful wife Sarah, without you I could never have finished this. Your kindness and patience are a constant inspiration. I’d also like to shout out my Longanese brother David Boon, for his constant belief in the music. Thanks also to my supervisors, Dr. Martin Spinelli and Professor Michael Bull. You have been impeccable in your support and advice, and your skill as teachers and mentors is second to none. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
Steve Beresford - David Toop John Zorn - Tonie Marshall
Steve Beresford - David Toop John Zorn - Tonie Marshall Deadly Weapons nato 950 Illustration : Pierre Cornuel Steve Beresford : piano - David Toop : flûte, guitare, percussions John Zorn : saxophone alto, clarinette - Tonie Marshall : voix Sortie en magasin le 10 octobre 2011 Produit par Jean Rochard pour nato Distribué par l’Autre Distribution 02.47.50.79.79 Contact presse : Christelle Raffaëlli [email protected] 06 82 65 92 73 www.natomusic.fr DEADLY WEAPONS « Ca s’appelle un disque phare ou un diamant noir » (Première) Deadly Weapons est un album clé pour les disques nato. En 1985, John Zorn joue pour la première fois en France avec Steve Beresford et David Toop au festival de Chantenay-Villedieu. Deadly Weapons, réalisé l'année d'après, est la suite naturelle de ce concert remarqué. Steve Beresford, lui, est un des piliers de la maison ; avec Deadly Weapons, il synthétise ses éclectiques et fourmillantes approches en un seul projet. David Toop a déjà enregistré pour nato avec le groupe Alterations et participé à l'album de son compère Steve Beresford : Dancing the Line Anne Marie Beretta. Tous trois sont d'incorrigibles cinéphiles. Tonie Marshall est alors actrice, et quelle actrice ! Elle va bientôt passer de l'autre côté de la caméra et devenir une cinéaste de premier plan. Deadly Weapons est un disque-film comme les affectionne particulièrement la maison du chat. Il joue sur différents plans et s'en joue. Champ et hors-champ. Lors de sa sortie, il divise : le livret rappelle comment s’offusquèrent les puristes et comment se réjouirent les autres ! Si Deadly Weapons, premier album londonien de nato, ouvre bel et bien la marche (toujours randonneuse) de ce qui va suivre, il s'inscrit assez logiquement dans ce qui a précédé en affichant des libertés nouvelles et sa passion des images sans masques. -
The Arts of Sound Art and Music Douglas Kahn I Am Not Particularly Fond of the Term Sound Art. I Prefer the More Generic Sound I
1 The Arts of Sound Art and Music Douglas Kahn I am not particularly fond of the term sound art. I prefer the more generic sound in the arts. My last book was subtitled a history of sound in the arts; there was no mention of sound art and not only because it was outside the historical scope of the book. Sound in the arts is a huge topic, especially when one keeps in mind the synthetic nature of the arts, i.e., the various intersecting social, cultural, and environmental realities wittingly and unwittingly embodied in any one of the innumerable factors that go into producing, experiencing, and understanding a particular work. Sound art is a smaller topic, if what is meant is that moment that artists, in the general sense of the word, began calling what they were doing sound art. In my experience, artists started to use sound art in this way during the 1980s, although there were plenty of artists doing similar things with sound earlier and not necessarily calling what they did sound art. The topic becomes smaller still if what is meant is the term that refers to what began a few years ago, and it is this meaning that has become well known. I realize that railing against the widespread use of a term is obviously not a wise use of time. That has not prevented many others wasting time on names. None of the minimalist composers seem to like the term minimalist but they were 2 more than willing to live in the shadow of that flag, if not salute. -
Ultima Oslo Contemporary Music Festival on Nature
ultima oslo contemporary 10–19 september 2015 ultima music festival oslo contemporary music festival om natur 10.–19. september 2015 10.–19. on nature 1 programme THURSDAY 10 SEPTEMBER Lunchtime concert Henrik Hellstenius Ørets teater III: Ultima Academy Cecilie Ore Ultima Academy Eivind Buene Georg Friedrich Haas In Vain SATURDAY 19 SEPTEMBER Herman Vogt Om naturen (WP) Alexander Schubert in conversation Adam & Eve—A Divine Comedy Geologist Henrik H. Svensen The Norwegian Chamber Orchestra Ensemble Ernst Ultima Remake Concordia Discors, Études (WP) Oslo Sinfonietta / Dans les Arbres with rob Young 21:00 — Kulturkirken Jakob on issues in the Age of Man 19:00 — Universitetets aula 21:00 — Riksscenen Edvin Østergaard (WP) / 10:00 — Edvard Munch Secondary 12:00 — Loftet 19:30 — The Norwegian National Opera 14:00 — Kulturhuset p. 18 19:30 — Kulturhuset New music by Eivind Buene, plus the Spellbinding piece described as ‘an optical Jan Erik Mikalsen (WP) / Maja Linderoth School Piano studies with Ian Pace, piano & Ballet, (Also 12 and 13 September) p. 31 p. 35 pieces that inspired it illusion for the ear’” The Norwegian Soloists’ Choir Interactive installation created by pupils p. 19 Concert / performance Robert Ashley Perfect Lives p. 38 p. 47 13:00 — Universitetets gamle festsal p. 13 p. 16 Ultima Academy Matmos Ultima Academy p. 53 Installation opening and concert Music Professor Rolf Inge Godøy 22:00 — Vulkan Arena Musicologist Richard Taruskin on David Toop Of Leonardo da Vinci — James Hoff / Afrikan Sciences / Ultima Academy Elin Mar Øyen Vister Røster III (WP) Installation opening on sound and gesture American electronica duo perform cele- birdsong, music and the supernatural Quills / a Black Giant / Deluge (WP) Hilde Holsen Øyvind Torvund (WP) / Jon Øivind Media theorist Wolfgang Ernst 15:00 — Deichmanske Ali Paranadian Untitled I, 14:30 — Kulturhuset brated TV opera 20:30 — Kulturhuset Elaine Mitchener / David Toop 22:00 — Blå Ness (WP) / Iannis Xenakis on online culture and hovedbibliotek A Poem for Norway (WP) p. -
Choreography and Sounding Wearables
Scene 2 (1+2) pp. 197–220 Intellect Limited 2014 Scene Volume 2 numbers 1 & 2 © 2014 Intellect Ltd Article. English language. doi: 10.1386/scene.2.1-2.197_1 Michèle danjoux London college of Fashion choreography and sounding wearables abstract Keywords This article explores the role of ‘sounding costumes’ and body-worn technologies for costume choreographic composition, with real-time interactional elements (such as microphones, body speakers, sensors) potentially integrated into movement and expressive behaviour. movement Sounding garments explore the interactions between dancer/performer, the costume and choreography the environment in the generation and manipulation of sonic textures. Briefly discussing sound historical precedents of integrated composition, the article will mainly refer to sounding wearable prototypes in DAP-Lab’s latest production, For the time being [Victory over the Sun] interactive (2012–2014), for which I designed the wearables, highlighting new methods for build- performance ing sensual wearable electro-acoustic costumes to create kinaesonic choreographies. The article analyses the multi-perspectival potentials of such conceptual garments/wear- able artefacts to play a significant part in the creation process of a performance, focus- ing on how wearable design can influence and shape movement vocabularies through the impact of its physical material presence on the body, distinctive design aesthetics and sound-generating capabilities. Choreographically, garments and body-worn tech- nologies act as amplifying instruments -
David Toop Ricocheting As a 1960S Teenager Between Blues Guitarist
David Toop Ricocheting as a 1960s teenager between blues guitarist, art school dropout, Super 8 film loops and psychedelic light shows, David Toop has been developing a practice that crosses boundaries of sound, listening, music and materials since 1970. This practice encompasses improvised music performance (using hybrid assemblages of electric guitars, aerophones, bone conduction, lo-fi archival recordings, paper, sound masking, water, autonomous and vibrant objects), writing, electronic sound, field recording, exhibition curating, sound art installations and opera (Star-shaped Biscuit, performed in 2012). It includes seven acclaimed books, including Rap Attack (1984), Ocean of Sound (1995), Sinister Resonance (2010) and Into the Maelstrom (2016), the latter a Guardian music book of the year, shortlisted for the Penderyn Music Book Prize. Briefly a member of David Cunningham’s pop project The Flying Lizards (his guitar can be heard sampled on “Water” by The Roots), he has released thirteen solo albums, from New and Rediscovered Musical Instruments on Brian Eno’s Obscure label (1975) and Sound Body on David Sylvian’s Samadhisound label (2006) to Entities Inertias Faint Beings on Lawrence English’s ROOM40 (2016). His 1978 Amazonas recordings of Yanomami shamanism and ritual - released on Sub Rosa as Lost Shadows (2016) - were called by The Wire a “tsunami of weirdness” while Entities Inertias Faint Beings was described in Pitchfork as “an album about using sound to find one’s own bearings . again and again, understated wisps of melody, harmony, and rhythm surface briefly and disappear just as quickly, sending out ripples that supercharge every corner of this lovely, engrossing album.” In the early 1970s he performed with sound poet Bob Cobbing, butoh dancer Mitsutaka Ishii and drummer Paul Burwell, along with key figures in improvisation, including Derek Bailey, Evan Parker, Georgie Born, Hugh Davies, John Stevens, Lol Coxhill, Frank Perry and John Zorn. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
Queer Abstraction
UNDER CONSTRUCTION PERFORMING CRITICAL IDENTITY EDITED BY MARIE-ANNE KOHL Under Construction State of the Arts–Reflecting Contemporary Cultural Expression Volumes in the series: Under Construction: Performing Critical Identity ISBN 978-3-03897-499-4 (Hbk); ISBN 978-3-03897-500-7 (PDF) Self-Representation in an Expanded Field: From Self-Portraiture to Selfie, Contemporary Art in the Social Media Age ISBN 978-3-03897-564-9 (Hbk); ISBN 978-3-03897-565-6 (PDF) Marie-Anne Kohl (Ed.) Under Construction Performing Critical Identity MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tianjin •Tokyo • Cluj EDITOR Marie-Anne Kohl Research Institute for Music Theater Studies, University of Bayreuth, Thurnau, Germany EDITORIAL OFFICE MDPI St. Alban-Anlage 66 4052 Basel, Switzerland For citation purposes, cite each article independently as indicated below: Author 1, and Author 2. 2021. Chapter Title. In Under Construction: Performing Critical Identity. Edited by Marie-Anne Kohl. Basel: MDPI, Page Range. ISBN 978-3-03897-499-4 (Hbk) ISBN 978-3-03897-500-7 (PDF) ISSN: 2624-9839 (Print); ISSN: 2624-9847 (Online) doi.org/10.3390/books978-3-03897-500-7 Cover image adapted from work by Mamba Azul–stock.adobe.com. © 2021 by the authors. Chapters in this volume are Open Access and distributed under the Creative Commons Attribution (CC BY 4.0) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book taken as a whole is © 2021 MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. -
Clever Children: the Sons and Daughters of Experimental Music?
Clever Children: The Sons and Daughters of Experimental Music Author Carter, David Published 2009 Thesis Type Thesis (PhD Doctorate) School Queensland Conservatorium DOI https://doi.org/10.25904/1912/1356 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367632 Griffith Research Online https://research-repository.griffith.edu.au Clever Children: The Sons and Daughters of Experimental Music? David Carter B.Music / Music Technology (Honours, First Class) Queensland Conservatorium Griffith University A dissertation submitted in fulfilment of the requirements for the award of the degree Doctor of Philosophy 19 June 2008 Keywords Contemporary Music; Dance Music; Disco; DJ; DJ Spooky; Dub; Eight Lines; Electronica; Electronic Music; Errata Erratum; Experimental Music; Hip Hop; House; IDM; Influence; Techno; John Cage; Minimalism; Music History; Musicology; Rave; Reich Remixed; Scanner; Surface Noise. i Abstract In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music. -
Leonardoelectronicalma
/ ____ / / /\ / /-- /__\ /______/____ / \ ________________________________________________________________ Leonardo Electronic Almanac volume 12, number 2, February 2004 http://lea.mit.edu ________________________________________________________________ ISSN #1071-4391 ____________ | | | CONTENTS | |____________| ________________________________________________________________ INTRODUCTION ------------ FEATURES -------- < Recursive Audio Systems: Acoustic Feedback in Composition, by Christopher Burns and Matthew Burtner > < Turn/Stile: Remixing Udo Kasemets’ *Calendaron*, by tobias c. van Veen> LEONARDO REVIEWS ---------------- < A Culture of Fact - England, 1550-1720, reviewed by Stefaan Van Ryssen > < American Modernism: Graphic Design, 1920 to 1960, Reviewed by Roy R. Behrens > < A Thing in Disguise: The Visionary Life of Joseph Paxton, reviewed by Dennis Dollens > < The Book of the Pharaohs, reviewed by Enzo Ferrara > LEONARDO JOURNAL ---------------- < *Leonardo*, vol. 37, no. 2 (April 2004) - table of contents and selected abstracts > LEONARDO ABSTRACTS SERVICE -------------------------- < Portrait of the Artist in Red Ink, by Jennifer Henderson > OPPORTUNITY ------------ < Faculty Position: Asst or Assoc Prof, New Media Arts University of California San Diego > 1 LEONARDOELECTRONICALMANAC VOL 12 NO 3 ISSN 1071-4391 ISBN 978-0-9833571-0-0 ________________________________________________________________ ________________ | | | INTRODUCTION | |________________| ________________________________________________________________ LEA SPECIAL