Electroacoustic Music Contest in 2014
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City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Pace, I. ORCID: 0000-0002-0047-9379 (2021). New Music: Performance Institutions and Practices. In: McPherson, G and Davidson, J (Eds.), The Oxford Handbook of Music Performance. Oxford, UK: Oxford University Press. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/25924/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] New Music: Performance Institutions and Practices Ian Pace For publication in Gary McPherson and Jane Davidson (eds.), The Oxford Handbook of Music Performance (New York: Oxford University Press, 2021), chapter 17. Introduction At the beginning of the twentieth century concert programming had transitioned away from the mid-eighteenth century norm of varied repertoire by (mostly) living composers to become weighted more heavily towards a historical and canonical repertoire of (mostly) dead composers (Weber, 2008). -
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. -
The Stephen F. Austin State University Friday, February 20, 2009
E V E N T S The Stephen F. Austin State University Friday, February 20, 2009 School of Music 5:00 p.m. – Registration – Room 152 is proud to host 7:00 p.m. – Concert I (Chamber Works) – Recital Hall Saturday, February 21, 2009 9:00 a.m. – Composition Symposium – Room 153 11:00 a.m. – Concert II (60x60) – Recital Hall The 2009 Conference 12:00 p.m. – NACUSA Membership Meeting – Room 152 2:00 p.m. – Concert III (Chamber Works) – Cole Concert Hall of the Texas Chapter of 4:00 p.m. – Keynote Address by Cindy McTee – Recital Hall The National Association of Composers, USA 7:00 p.m. – Concert IV (Band Works) – Cole Concert Hall N A C U S A T E X A S O F F I C E R S President: Dr. Wieslaw V. Rentowski Concert Coordinator: Dr. Dimitar Ninov Vice president: Dr. Nico Schüler Conference Coordinator: Dr. Stephen Lias In collaboration with: Secretary: Ms. Sunnie Oh Fundraising Coordinator: Dr. Michael Remson Treasurer: Mr. Alan Scott Student Coordinator: Mr. Anthony Suter The Center for the Promotion of Contemporary Music At Large: Dr. Michael Millett The International Society of Contemporary Music Vox Novus C O N F E R E N C E H O S T I N F O R M A T I O N All events will take place in the Tom & Peggy Wright Music Building on the campus of Stephen F. Austin State University, Nacogdoches, Texas. Conference registrants will find information about lodging, local restaurants, and driving directions in their conference packet or at http://www.icnm.org/NACUSATX/. -
SMC 2019 Music Program Notes
Music Program Notes SMC 2019 Music Program Notes 16th Sound & Music Computing Conference May 28 - 31, 2019 Málaga, Spain Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 SMC 2019 is organized by ATIC Research Group Universidad de Málaga Website: http://smc2019.uma.es Music Program Notes 16th Sound & Music Computing Conference SMC 2019 Cover design by Alberto Peinado, Isabel Barbancho & Lorenzo J. Tardón SMC 2019 logo by Alberto Peinado Edited by: Lorenzo J. Tardón (ATIC Research Group. Universidad de Málaga) Isabel Barbancho (ATIC Research Group. Universidad de Málaga) Ana M. Barbancho (ATIC Research Group. Universidad de Málaga) Antonio Jurado-Navas (Universidad de Málaga) Alberto Peinado (Universidad de Málaga) ISBN 978-84-09-11398-9 Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. © 2019 SMC 2019 Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 ORGANIZATION Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 SPONSORS Other collaborators Music Program Notes. 16th Sound & Music Computing Conference ISBN 978-84-09-11398-9 Contents Contents v SMC 2019 Conference Committee 1 SMC 2019 Music Reviewers 3 Music Program 5 Concert . .5 SMC. Music Session at Sala Unicaja de Conciertos María Cristina .6 M1. Music Session 1 . .7 M2. Music Session 2 . .8 Music Program Notes 9 Concert . -
International Computer Music Conference (ICMC/SMC)
Conference Program 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Music Technology Meets Philosophy: From digital echos to virtual ethos ICMC | SMC |2014 14-20 September 2014, Athens, Greece ICMC|SMC|2014 14-20 September 2014, Athens, Greece Programme of the ICMC | SMC | 2014 Conference 40th International Computer Music Conference joint with the 11th Sound and Music Computing conference Editor: Kostas Moschos PuBlished By: x The National anD KapoDistrian University of Athens Music Department anD Department of Informatics & Telecommunications Panepistimioupolis, Ilissia, GR-15784, Athens, Greece x The Institute for Research on Music & Acoustics http://www.iema.gr/ ADrianou 105, GR-10558, Athens, Greece IEMA ISBN: 978-960-7313-25-6 UOA ISBN: 978-960-466-133-6 Ξ^ĞƉƚĞŵďĞƌϮϬϭϰʹ All copyrights reserved 2 ICMC|SMC|2014 14-20 September 2014, Athens, Greece Contents Contents ..................................................................................................................................................... 3 Sponsors ..................................................................................................................................................... 4 Preface ....................................................................................................................................................... 5 Summer School ....................................................................................................................................... -
Warsaw Autumn International Festival of Contemporary Music in 1956-2015
Between Connotation and Denotation. Posters Announcing the Warsaw Autumn International Festival of Contemporary Music in 1956-2015 MARIUSZ KNOROWSKI Muzeum Plakatu w Wilanowie Email: [email protected] Between Connotation and Denotation. Posters Announcing the Warsaw Autumn International Festival of Contemporary Music in 1956-2015 Musicology Today • Vol. 14 • 2017 DOI: 10.1515/muso-2017-0007 ABSTRACT by the euphoria that accompanied the “thaw”, anticipated by Ilya Erenburg’s eponymous novel. This new direction of The posters that accompany the successive Warsaw Autumn Festival activity was mostly targeted at the intelligentsia, particularly editions are a unique collection of works, mostly of outstanding – the younger generations, which could give the projected quality. One might venture the thesis that their artistic value – living up to the high demands of the topic – exceeds the typical standards metamorphosis a proper momentum and lend credibility of representation characteristic of popular art. Formally speaking, they to the new state patronage and its open character. abandon the conventions of egalitarian iconographic art in favour of As it unfortunately soon turned out, reality could a more elite-oriented visual formula, addressed to a competent audience not live up to these excessive expectations, and the knowledgeable about contemporary music and its qualities. The authors postulated “revival” (in Polish odnowa, which some of these WA posters include many artists associated with the Polish school, such as Jan Lenica, Jan Młodożeniec, Julian Pałka, Waldemar sarcastic commentators spelt separately as od nowa – Świerzy, Henryk Tomaszewski, and Wojciech Zamecznik. Their graphic “all over again”, da capo al fine) soon suffocated in the representations of the achievements of the musical avant-garde do not, clouds of dogmaticism. -
Techno's Journey from Detroit to Berlin Advisor
The Day We Lost the Beat: Techno’s Journey From Detroit to Berlin Advisor: Professor Bryan McCann Honors Program Chair: Professor Amy Leonard James Constant Honors Thesis submitted to the Department of History Georgetown University 9 May 2016 2 Table of Contents Acknowledgements 3 Introduction 5 Glossary of terms and individuals 6 The techno sound 8 Listening suggestions for each chapter 11 Chapter One: Proto-Techno in Detroit: They Heard Europe on the Radio 12 The Electrifying Mojo 13 Cultural and economic environment of middle-class young black Detroit 15 Influences on early techno and differences between house and techno 22 The Belleville Three and proto-techno 26 Kraftwerk’s influence 28 Chapter Two: Frankfurt, Berlin, and Rave in the late 1980s 35 Frankfurt 37 Acid House and Rave in Chicago and Europe 43 Berlin, Ufo and the Love Parade 47 Chapter Three: Tresor, Underground Resistance, and the Berlin sound 55 Techno’s departure from the UK 57 A trip to Chicago 58 Underground Resistance 62 The New Geography of Berlin 67 Tresor Club 70 Hard Wax and Basic Channel 73 Chapter Four: Conclusion and techno today 77 Hip-hop and techno 79 Techno today 82 Bibliography 84 3 Acknowledgements Thank you, Mom, Dad, and Mary, for putting up with my incessant music (and me ruining last Christmas with this thesis), and to Professors Leonard and McCann, along with all of those in my thesis cohort. I would have never started this thesis if not for the transformative experiences I had at clubs and afterhours in New York and Washington, so to those at Good Room, Flash, U Street Music Hall, and Midnight Project, keep doing what you’re doing. -
Nycemf 2021 Program Book
NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 6 PAPERS 7 WORKSHOPS 9 CONCERTS 10 INSTALLATIONS 51 BIOGRAPHIES 53 DIRECTOR’S NYCEMF 2021 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2021. After a year of having Ioannis Andriotis, composer and audio engineer. virtually all live music in New York City and elsewhere https://www.andriotismusic.com/ completely shut down due to the coronavirus pandemic, we decided that we still wanted to provide an outlet to all Angelo Bello, composer. https://angelobello.net the composers who have continued to write music during this time. That is why we decided to plan another virtual Nathan Bowen, composer, Professor at Moorpark electroacoustic music festival for this year. Last year, College (http://nb23.com/blog/) after having planned a live festival, we had to cancel it and put on everything virtually; this year, we planned to George Brunner, composer, Director of Music go virtual from the start. We hope to be able to resume Technology, Brooklyn College C.U.N.Y. our live concerts in 2022. Daniel Fine, composer, New York City The limitations of a virtual festival meant that we could plan only to do events that could be done through the Travis Garrison, composer, Music Technology faculty at internet. Only stereo music could be played, and only the University of Central Missouri online installations could work. Paper sessions and (http://www.travisgarrison.com) workshops could be done through applications like zoom. We hope to be able to do all of these things in Doug Geers, composer, Professor of Music at Brooklyn person next year, and to resume concerts in full surround College sound. -
MUSICA INTELLECTUALIS 01.Indb
1 INTELLECTUALIS TOM1 ą ą ś ł Katarzyna Arnhold Ś ść ęć ń ł ż Paweł Gusnar ę ą ź Alicja Kozak ś ą ł ą ą ł ł Robert Cieśla ł ę ł ś ą Ł Marta Dziewanowska-Pachowska ź ę Anthony Gritten ę ą ą ń Roman Lasocki ż ń ą Marcin T. Łukaszewski ł ą ś ł ł ż Ł Jerzy Marchwiński ą ęść ł ę ł Ewa Skardowska ąż Sławomir Tomasik Małgorzata Waszak Andrzej Wrbel Droga artysty MUSICA INTELLECTUALIS to seria publikacji zbiorowych Uniwersytetu Muzycznego Fryderyka Chopina, zapoczątkowana niniejszym tomem. Zamierzeniem pomysłodawców jest, by seria ta ewoluowała w kierunku naukowego czasopisma uniwersyteckiego o profi lu artystycznym, które stworzy intelektualną i sprawozdawczą płaszczyznę komunikacji w naszej uczelni, obejmującą różne formy prezentacji zagadnień dotyczących muzyki: od naukowych dysertacji, przez rozważania na temat sztuki wykonawczej i kształcenia, po teksty publicystyczne. Musica Intellectualis służy prezentowaniu wyników badań prowadzonych przede wszystkim przez osoby związane z UMFC – profesorów, pracowników uczelni, doktorantów, absolwentów i studentów – ale jest otwarta również dla autorów z innych ośrodków artystycznych i naukowych. Zintegrowanie myśli twórczej w ramach jednej platformy komunikacyjnej daje szansę wypowiedzi zarówno teoretykom muzyki, jak i przedstawicielom kierunków wykonawczych. Materiały w Musica Intellectualis ukazują się w języku polskim w postaci artykułów, recenzji, sprawozdań i wywiadów, przyporządkowanych do kilku bloków tematycznych: Szkice i refl eksje, Sylwetki, Studia, Sztuka wykonawcza i kształcenie oraz Varia – wydarzenia, płyty, książki. Wszystkie teksty (poza działem Varia) są opatrzone biogramami autorów w języku polskim i angielskim. Artykuły recenzowane (zamieszczone w dziale Studia) zawierają streszczenia i słowa kluczowe w dwóch wersjach językowych. Szczegółowe informacje o wymaganiach odnośnie do zgłaszanych tekstów znajdują się na stronie internetowej Chopin University Press. -
2011 Festivalis „Jauna Muzika“ Balandžio 26–Gegužės 2 Dienomis Festivalį Rengia Garso Numerologijathe Numerology of Sound
garso galerija 2011 Festivalis „Jauna Muzika“ balandžio 26–gegužės 2 dienomis Festivalį rengia Garso numerologijaThe numerology of sound Do numbers have a special significance in music? In the case of com- puter music, the answer is more than obvious – without numbers Ar skaičiai yra reikšmingi muzikoje? Kompiuteriu kuriamos muzikos there would have been no sound whatsoever, since it is defined by atveju atsakymas daugiau nei akivaizdus – be skaičių nebūtų ir pa- abstract combinations of zeros and ones that digital sound equip- ties garso, nes pastarąjį čia apibrėžia abstrakčios vienetų ir nulių ment converts into the physically audible stream. Yet the multitude kombinacijos, kurias skaitmeninė garso įranga paverčia fiziškai gir- of numberrelated musical terms that were used well before the dimu srautu. Tačiau ir daugybė gerokai prieš skaitmeninę erą nau- advent of the digital era – pentatonic, dodecaphony, triad, etc. – doti pradėtų muzikinių terminų – pentatonika, dodekafonija, triada also reveal that the universe of numbers is inseparable from the ir t. t. – atskleidžia, kad skaičių visata yra neatsiejama nuo garsų pa sonic world. Let alone the golden section and other mathemati- saulio. Ką jau kalbėti apie aukso pjūvį ir kitas matematines abstrak- cal abstractions that have been fascinating composers, including cijas, tiek metų intriguojančias kompozitorius – tarp jų ir nemažai Lithuanians, for quite a while now. Numbers and their sequences lietuvių. Skaičiai ir jų sekos, naudojami muzikinėje kalboje, lemia used in the musical language determine the texture and evolution garso faktūrą ir evoliuciją, taigi ir muzikos estetinį bei psichofizinį of sound – and, by extension, the aesthetic and psychophysical ef- poveikį klausytojui. Tai galima teigti net skeptiškai vertinant įvairias fect it produces. -
OTHER MINDS 14 a Festival of New Music
OTHER MINDSA festival of new music 14 GUEST COMPOSERS: MICHAEL HARRISON • DOBROMIŁA JASKOT • BEN JOHNSTON • CATHERINE LAMB • CHICO MELLO • JOHN SCHNEIDER • LINDA CATLIN SMITH • BENT SØRENSEN • CHINARY UNG MARCH 5 - 7, 2009 7PM PANEL DISCUSSIONS / 8PM CONCERTS JEWISH COMMUNITY CENTER OF SAN FRANCISCO CHARLES AMIRKHANIAN ARTISTIC DIRECTOR • ADAM FONG ASSOCIATE DIRECTOR Revelationary New Music www.radiOM.org The Djerassi Resident Artists Program is a proud co-sponsor of Other Minds Festival 14 The Mission of the Djerassi Resident Artists Program is to support and enhance the creativity of artists by providing uninterrupted time for work, reflection, and collegial interaction in a setting of great natural beauty, and to preserve the land upon which the Program is situated. The Djerassi Program annually welcomes the Other Minds Festival composers for a five-day residency for collegial interaction and preparation prior to their concert performances in San Francisco. Now celebrating its 30th Anniversary, the Djerassi Program has hosted 1800 artists of every discipline worldwide since its founding in 1979. Small, diverse groups of artists convene for one-month residencies at our rural ranch where studio space, housing, meals and staff support are provided free of charge. Information and application materials may be obtained at www.djerassi.org. The Djerassi Program is a non-profit 501 (C) (3) organization that relies on contributions from individuals and phil- anthropic organizations for its operations. Yield to Whim We welcome your support! by -
Nike World Basketball Festival – Nike in Tha House!
TRUE COLOURS 03/14 Nike World Basketball Festival – Nike in Tha House! Schacht Thomas Foto: contains in-true-love with-events lipbalm 2 satis&fy true colours 03/14 So klingt das Leben Ausbildung bei satis&fy Woran merkt man eigentlich, dass eine Firma größer, ein inter „Sound of Life“. Leben und Arbeiten gehörten selten enger zusammen als bei diesem Event. Kaum besser als hier konnten sich die national agierendes Unternehmen geworden ist? Auszubildenden ein Bild davon machen, wie die Arbeit bei satis&fy läuft – aber auch, wie das Leben so spielt. Der Erlös des Frankfurter Charity-Open-Air-Konzerts floß an krebskranke Kinder. Da kam einiges zusammen. Nicht nur an Hilfsgeldern, sondern auch an Erfahrung Mit einen Blick auf Zahlen, Grafiken und Bilanzen? Zu abstrakt, – eben für unsere Azubis. Denn für einige der werdenden Veranstaltungs-Techniker und -Kaufleute war das der ersteselbstverantwortlich um eine Antwort zu geben. Bei der Weihnachtsfeier, wenn es organisierte Event überhaupt. Supportübergreifendes, engagiertes und flexibles Arbeiten war gefragt, typische Qualifikationen auch für unmöglich geworden ist, all den Gesichtern einen Namen zu künftige Aufgaben. „Wir suchen junge Menschen, die sich und ihre Arbeit hinterfragen, ihre Persönlichkeit einbringen und nicht nur zuordnen? Oder an den langen Vorlaufzeiten, die nötig sind, einen Job wollen“, sagt Udo Herrgen, verantwortlich für Personal und Ausbildung im Gesamtkonzern. Seit 2001 nehmen er und derzeit um termingerecht einen hausinternen Konferenzraum zu 17 Ausbilder den Event-Nachwuchs in ihre Obhut. buchen? Bei mir war es eine EMail, gerichtet an eine Gruppe leitender Mitarbeiter, auf die ich eine lapidare Rückmeldung Im Mittelpunkt steht eine sorgfältige Auswahl.