Electroacoustic Music Studios BEAST Concerts in 1994

Total Page:16

File Type:pdf, Size:1020Kb

Electroacoustic Music Studios BEAST Concerts in 1994 Electroacoustic Music Studios BEAST Concerts in 1994 Norwich, 7th February Manchester, 22nd February Nottingham, 18th March More about BEAST concerts:- The Acousmatic Experience, Amsterdam, The Netherlands, 7th - 10th April Concert news Edinburgh, Scotland, 17th May Concert archives London, 11th November Birmingham, 13th November Huddersfield Contemporary Music Festival, Huddersfield, 18th November Rumours, Birmingham, England, 4th - 5th December 7th February 1994 Norwich, England Sound diffusion for the Sonic Arts Network 22nd February 1994 Manchester, England Sound diffusion for the Sonic Arts Network 18th March 1994 Nottingham, England Sound diffusion for the Sonic Arts Network The Acousmatic Experience, 7th - 10th April 1994 Amsterdam, The Netherlands A series of concerts performed by BEAST. 7th April 8.15 pm Karlheinz Stockhausen - Hymnen 8th April 8.15 pm 1. Yves Daoust - Suite Baroque: toccata 2. Jonty Harrison - Pair/Impair 3. Yves Daoust - Suite Baroque: "Qu'ai-je entendu" 4. Kees Tazelaar - Paradigma 5. Yves Daoust - Suite Baroque: "Les Agrémants" 6. Barry Truax - Basilica 7. Yves Daoust - Suite Baroque: "L'Extase" 8. Denis Smalley - Wind Chimes 9th April 2 pm 1. Barry Truax - The Blind Man 2. Bernard Parmegiani - Dedans/Dehors 3. Francis Dhomont - Espace/Escape 4. Jan Boerman - Composition 1972 8.15 pm 1. Michel Chion - Requiem 2. Robert Normandeau - Mémoires Vives 3. Bernard Parmegiani - Rouge-Mort: Thanatos 4. Erik M. Karlsson - La Disparition de l'Azur 10th April 2 pm 1. Pierre Schaeffer & Pierre Henry - Synphonie Pour un Homme Seul 2. John Oswald - Plunderphonics [extract] 3. Carl Stone - Hop Ken 4. Mark Wingate - Ode to the South-Facing Form 5. Erik M. Karlsson - Anchoring Arrows 8 pm 1. Trevor Wishart - Red Bird 2. Patrick Ascione - Chants Sphérique 17th May 1994 The Debating Hall, Teviot Row Union, Edinburgh, Scotland 1pm BEAST + John Wesley-Barker (flute) 1. Robert Dow - Le Lethe 2. Natasha Barrett - Trompe lUoile 3. Joseph Hyde - SEVen.waVES 7pm BEAST + The Contemporary Music Ensemble, conducted by Jeremy Cull. 1. Mathew Adkins - Phoenix Games 2. Alistair MacDonald - Kilim 3. Simon Hall - Transcending the Body and Soul 4. Jonty Harrison - ... et ainsi de suite 5. *** INTERVAL *** 6. Robert Dow - Glass, Water: Enthalpy of Solution 7. Pete Stollery - Shortstuff 8. Adrian Moore - Traversing the Coulure 11th November 1994 Queen Elizabeth Hall, London, England A performance of Karlheinz Stockhausen's Momente, with the Birmingham Contemporary Music Group (BCMG). 13th November 1994 Adrian Boult Hall, Birmingham, England A performance of Karlheinz Stockhausen's Momente, with the Birmingham Contemporary Music Group (BCMG). Huddersfield Contemporary Music Festival,18th November 1994 Huddersfield, England A performance of Karlheinz Stockhausen's Momente, with the Birmingham Contemporary Music Group (BCMG). Rumours, 4th - 5th December 1994 Midlands Arts Centre, Birmingham, England Sunday 4th December 1994 Music by Javier Alvarez, Pete Stollery, Phillippe Le Goff, Andrew Lewis, Justice Olsson and Rodrigo Vellosso. Monday 5th December Music by Serge Arcuri, Robert Dow, Simon Hall and Kim Dyett. Electroacoustic music studios BEAST Concerts in 1993 Concerts in 1995 .
Recommended publications
  • Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops
    Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art 28.9. – 1.10.2017 Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops 1 KONTAKTE’17 28.9.–1.10.2017 Biennale für Elektroakustische Musik und Klangkunst Biennial for Electroacoustic Music and Sound Art Konzerte, Klanginstallationen, Performances, Künstlergespräche, Filme, Workshops Concerts, Sound Installations, Performances, Artist Talks, Films, Workshops KONTAKTE '17 INHALT 28. September bis 1. Oktober 2017 Akademie der Künste, Berlin Programmübersicht 9 Ein Festival des Studios für Elektroakustische Musik der Akademie der Künste A festival presented by the Studio for Electro­ acoustic Music of the Akademie der Künste Konzerte 10 Im Zusammenarbeit mit In collaboration with Installationen 48 Deutsche Gesellschaft für Elektroakustische Musik Berliner Künstlerprogramm des DAAD Forum 58 Universität der Künste Berlin Hochschule für Musik Hanns Eisler Berlin Technische Universität Berlin Ausstellung 62 Klangzeitort Helmholtz ­Zentrum Berlin Workshop 64 Ensemble ascolta Musik der Jahrhunderte, Stuttgart Institut für Elektronische Musik und Akustik der Kunstuniversität Graz Laboratorio Nacional de Música Electroacústica Biografien 66 de Cuba singuhr – projekte Partner 88 Heroines of Sound Lebenshilfe Berlin Deutschlandfunk Kultur Lageplan 92 France Culture Karten, Information 94 Studio für Elektroakustische Musik der Akademie der Künste Hanseatenweg 10, 10557 Berlin Fon: +49 (0) 30 ­ 20057­2236 www.adk.de/sem E­Mail: [email protected] KONTAKTE ’17 www.adk.de/kontakte17 #kontakte17 KONTAKTE’17 Die zwei Jahre, die seit der ersten Ausgabe von KONTAKTE im Jahr 2015 vergangen sind, waren für das Studio für Elektroakustische Musik eine ereignisreiche Zeit. Mitte 2015 erhielt das Studio eine großzügige Sachspende ausgesonderter Studiotechnik der Deut­ schen Telekom, die nach entsprechenden Planungs­ und Wartungsarbeiten seit 2016 neue Produktionsmöglichkeiten eröffnet.
    [Show full text]
  • Delia Derbyshire (1937–2001) 1962 Dartington Summer School
    News Delia Derbyshire (1937–2001) 1962 Dartington summer school. France). The Gold Pierre was Later, in collaboration with Brian awarded to Ludger Bru¨ mmer (Ger- Hodgson and David Vorhaus, she set many) for Nyx, and the Silver Pierre Delia Derbyshire, British pioneer of up Kaleidophon, an independent stu- to Jonty Harrison (UK) for Abstracts electronic music, died in Northamp- dio where she worked on the classic for tape and large orchestra. No mag- ton, England, on 3 July 2001, aged album Electric Storm (1968), which isterium was awarded. Residencies 64. Born in Coventry, England, she was credited to White Noise and re- went to Abdul Wahid Hasnizam (Ma- was educated at Coventry Grammar leased on Island Records. This studio laysia) for Fatihah, Paavo Impio (Fin- School and Girton College, Cam- continued to put together electronic land) for Kaleva, Mei-Fang Lin bridge, graduating in music and music for the London theatre of the (Taiwan) for Interaction, Felipe Perez mathematics. She joined the British late 1960s. In 1973 she left the BBC Santiago (Mexico) for Ofaniel (angel Broadcasting Corporation (BBC) in and after a short period with a pri- de la luna), Juan Pablo Sorrentino 1960 as a studio manager and trans- vate studio she gave up composi- (Argentina) for Mi Primer Cello, and ferred in 1962 to the Radiophonic tional work for many years. Rogelio Sosa (Mexico) for Tenso II. Workshop, where she remained until Recently, she had returned to take In the category for electroacoustic 1973. During that time she produced an interest in electronic music, en- music alone, prizes were awarded to music and sound for almost 200 ra- couraged by members of a younger Natasha Barrett (UK) for Utility of dio and television programs.
    [Show full text]
  • The Sound Effect
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Sound Effect: a Study in Radical Sound Design Ian Robert Stevenson A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Architecture, Design & Planning The University of Sydney 2015 ABSTRACT ABSTRACT This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects.
    [Show full text]
  • Expanding Horizons: the International Avant-Garde, 1962-75
    452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary.
    [Show full text]
  • Ambiant Creativity Mo Fr Workshop Concerts Lectures Discussions
    workshop concerts lectures discussions ambiant creativity »digital composition« March 14-18 2011 mo fr jérôme bertholon sebastian berweck ludger brümmer claude cadoz omer chatziserif johannes kreidler damian marhulets thomas a. troge iannis zannos // program thursday, march 17th digital creativity 6 pm, Lecture // Caught in the Middle: The Interpreter in the Digital Age and Sebastian Berweck contemporary ZKM_Vortragssaal music 6.45 pm, IMA | lab // National Styles in Electro- acoustic Music? thomas a. troged- Stipends of “Ambiant Creativity” and Sebastian fdfd Berweck ZKM_Vortragssaal 8 pm, Concert // Interactive Creativity with Sebastian Berweck (Pianist, Performer), works by Ludger Brümmer, Johannes Kreidler, Enno Poppe, Terry Riley, Giacinto Scelsi ZKM_Kubus friday, march 18th 6 pm, Lecture // New Technologies and Musical Creations Johannes Kreidler ZKM_Vortragsaal 6.45 pm, Round Table // What to Expect? Hopes and Problems of Technological Driven Art Ludger Brümmer, Claude Cadoz, Johannes Kreidler, Thomas A. Troge, Iannis Zannos ZKM_Vortragssaal 8 pm, Concert // Spatial Creativity, works by Jérôme Bertholon, Ludger Brümmer, Claude Cadoz, Omer Chatziserif, Damian Marhulets, Iannis Zannos ZKM_Kubus 10pm, Night Concert // Audiovisual Creativity with audiovisual compositions and dj- sets by dj deepthought and Damian Marhulets ZKM_Musikbalkon // the project “ambiant creativity” The “Ambiant Creativity” project aims to promote the potential of interdisciplinary coopera- tion in the arts with modern technology, and its relevance at the European Level. The results and events are opened to the general public. The project is a European Project funded with support from the European Commission under the Culture Program. It started on October, 2009 for a duration of two years. The partnership groups ACROE in France, ZKM | Karlsruhe in Germany and the Ionian University in Greece.
    [Show full text]
  • 5. Iannis Xenakis
    5. Iannis Xenakis „C’était deux ou trois ans après l’invasion russe en Tchécoslovaquie. Je suis tombé amoreux de la musique de Varèse et de Xenakis. Je me demande pourquoi […].“ Milan Kundera: Une rencontre129 Recepce a teoretická reflexe tvorby Iannise Xenakise v našem prostředí není nijak významná. Když pomineme texty a studie, které jsou součástí lexik, vysokoškolských skript a obecných přehledů dějin hudby, stojí za zmínku především stať Milana Kundery Iannis Xenakis, prorok necitovosti. Ačkoliv se nejedná o muzikologickou studii, jejímu autorovi se (jako mnohokrát) daří popsat konkrétní rysy skladatelovy tvorby s daleko větší přesností, než jaké by byl zřejmě schopen muzikolog. Ve francouzské verzi se text objevuje v roce 1980 pod názvem Le refus intégral de l’héritage ou Iannis Xenakis (Naprosté odmítnutí dědictví aneb Iannis Xenakis). O to cennější je skutečnost, že se Kundera k původnímu textu vrací v nově vydané sbírce esejů Une rencontre. Přiznává v něm, že v hudbě Varèse a Xenakise nalezl zvláštní útěchu, která spočívá ve smíření s nevyhnutelností konečnosti. Prorokem necitovosti nazval Carl Gustav Jung Jamese Joyce ve své analýze Odyssea. Zde také přichází s tezí, že citovost je nadstavbou brutality. Vyvážení této sentimentality přinášejí proroci asentimentality, podle Junga Joyce, podle Kundery Xenakis. Podle Kundery hudba vždy svojí subjektivitou čelila objektivitě světa. Existují však okamžiky, kdy se subjektivita nebo také emocionalita (která za normálních okolností vrací člověka k jeho podstatě a zmírňuje chlad intelektu) stává nástrojem brutality a zla. V takových okamžicích se naopak objektivní hudba stává krásou, která smývá nánosy emocionality a tlumí barbarství sentimentu. Xenakisův postoj k historii hudby je podle Kundery radikálně odmítavý.
    [Show full text]
  • Sonic Arts Network file:///Users/Daniel2016/Documents/Unla COSAS Y WEBSITES
    Sonic Arts Network file:///Users/daniel2016/Documents/UNLa COSAS y WEBSITES... In conjunction with De Montfort University and Phoenix Arts Leicester CLICK HERE FOR TRAVEL & ACCOMMODATION DETAILS Sonic Arts Network and De Montfort University invite you to the audio big top. Experience the travelling aural carnival that is SoundCircus: Your ears will bear witness to, and be amazed by, a disarmingly diverse range of experimental sound practices from across the UK and beyond… SEE and HEAR new commissions from Kaffe Matthews and Pete Batchelor! EXPERIENCE the untold delights of performances, installations, presentations and papers from a host of established and emerging artists! MARVEL at the sheer quantity of work with over 60 artists presenting at the event 1 de 7 19/8/16 16:38 Sonic Arts Network file:///Users/daniel2016/Documents/UNLa COSAS y WEBSITES... including: Adaadat, BEAST, Codec/X, Peter Cusack, John Levack Drever, Iris Garrelfs, Jonty Harrison, Modified Toy Orchestra, Adrian Moore, Pippa Murphy, Seed Records, Daniel Schachter, Volcano the Bear, David Zicarelli YOU WILL GASP IN AMAZEMENT AND BE LOST FOR WORDS!!! Each year the SAN Conference showcases the best work from artists in the UK using experimental approaches to sound and technology. It also provides a platform for artists to meet, listen and respond. SoundCircus will focus on new cultural trends and aims to highlight the broad range of approaches and thinking that surrounds the sonic arts through a variety of performances, installations and research presentations. Friday 11 June SoundCircus kicks off with a live spectacle featuring the talents of Leicester’s very own iconoclastic avant-post rock/jazz/folk improvisers Volcano the Bear.
    [Show full text]
  • Practical and Theoretical Explorations Into Composing with Disembodied Sound
    Phonographies: Practical and Theoretical Explorations into Composing with Disembodied Sound by John Levack Drever B. Mus, M. Mus A thesis submittedto the University of Plymouth In partial fulfilment for the degreeof DOCTOR OF PHILOSOPHY Dartington College of Arts August 2001 CONTAINS MUSIC CD UNABLE TO COPY CONTACT UNIVERSITY IF YOU WISH TO SEE THIS MATERIAL Copyright Statement This copy of the thesis and accompanying audio CDs have been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author'sprior consent. Abstract Candidate's Name: John Levack Drever B. Mus, M. Mus Title of Thesis: Phonographies:Practical and Theoretical Explorations into Composingwith DisembodiedSound This is PhD submissionis both practical and theoretical. The practical element consistsof nine electroacousticcompositions. The dissertationacts as a discursive accompanimentto the compositions, addressingmany of the contextual and philosophical issuesthat have arisen during the compositional processand the perfannance of the works. It charts out discoursesurrounding the different genresof electroacousticmusic that the works relate to as well as examining models of work in the respective genres (i. e. sonic art, text.. sound, acousmatic composition, inusique concrite and soundscapecomposition), and placesthem into a broader cultural and historical context. Chapter 2 is concerned with the impact of the advent of, and subsequent rapid development of electroacoustically mediatized sound on society and the individual. It relatesa diverse mix of conjectureson disembodiedsound from different fields, practices and cultures, including sonic art. Chapter3 exploresthe emerging genre of soundscapecomposition.
    [Show full text]
  • Nicola Candlish Phd 2012
    Durham E-Theses The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio CANDLISH, NICOLA,ANNE How to cite: CANDLISH, NICOLA,ANNE (2012) The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3915/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the bids to establish a National Studio’ Nicola Anne Candlish Doctor of Philosophy Music Department Durham University 2012 Nicola Anne Candlish ‘The Development of Resources for Electronic Music in the UK, with Particular Reference to the Bids to Establish a National Studio’ This thesis traces the history and development of the facilities for electronic music in the UK.
    [Show full text]
  • Music Inspired by Astronomy, Organized by Topic an Annotated Listing by Andrew Fraknoi
    Music Inspired by Astronomy, Organized by Topic An Annotated Listing by Andrew Fraknoi © copyright 2019 by Andrew Fraknoi. All rights reserved. Used with permission. Borresen: At Uranienborg Cage: Atlas Eclipticalis Glass: Orion Connections between astronomy and music have been proposed since the time of the ancient Greeks. This annotated listing of both classical and popular music inspired by astronomy restricts itself to music that has connections to real science -- not just an astronomical term or two in the title or lyrics. For example, we do not list Gustav Holst’s popular symphonic suite The Planets, because it draws its inspiration from the astrological, and not astronomical, characteristics of the worlds in the solar system. Similarly, songs like Soundgarden’s “Black Hole Sun” or the Beatles’ “Across the Universe” just don’t contain enough serious astronomy to make it into our guide. When possible, we give links to a CD and a YouTube recording or explanation for each piece. The music is arranged in categories by astronomical topic, from asteroids to Venus. Additions to this list are most welcome (as long as they follow the above guidelines); please send them to the author at: fraknoi {at} fhda {dot} edu Table of Contents Asteroids Meteors and Meteorites Astronomers Moon Astronomy in General Nebulae Black Holes Physics Related to Astronomy Calendar, Time, Seasons Planets (in General) Comets Pluto Constellations Saturn Cosmology SETI (Search for Intelligent Life Out There) Earth Sky Phenomena Eclipses Space Travel Einstein Star Clusters Exoplanets Stars and Stellar Evolution Galaxies and Quasars Sun History of Astronomy Telescopes and Observatories Jupiter Venus Mars 1 Asteroids Coates, Gloria Among the Asteroids on At Midnight (on Tzadik).
    [Show full text]
  • ! ! ! Universidade!Estadual!Paulista! Júlio!De!Mesquita!Filho! Instituto!De
    ! ! ! Universidade!Estadual!Paulista! Júlio!de!Mesquita!Filho! Instituto!de!Artes! Departamento!de!Música! ! ! ! ! ! ! ! ! ! ! ! ! ! GEORGE!OLOF!DE!FREITAS!ALVESKOG! ! ! ! ! Escritura!do!Espaço!na!Música!Eletroacústica! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! São!Paulo! 2016! ! ! ! ! GEORGE!OLOF!DE!FREITAS!ALVESKOG! ! ! ! ! Escritura!do!Espaço!na!Música!Eletroacústica! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Dissertação! apresentada! ao! Programa! de! PósEgraduação! em! Música! do! Instituto! de! Artes! da! Universidade! Estadual! Paulista,! Linha! de! Pesquisa! Epistemologia! e! Práxis! do! Processo! Criativo,! como! exigência! parcial! para! a! obtenção! do! título! de! Mestre! em! Música,! sob! orientação! do! Prof.! Dr.!Florivaldo!Menezes!Filho.! ! ! ! ! São!Paulo! 2016! ! ! ! ! ! ! ! ! ! ! Ficha!catalográfica!preparada!pelo!Serviço!de!Biblioteca!e!Documentação!do!Instituto!de!Artes!da! UNESP! ! ! ! A474e! Alveskog,!George!Olof!De!Freitas! Escritura!do!espaço!na!música!eletroacústica!!/!George!Olof!De! Freitas!Alveskog.!E!São!Paulo,!2016.! 119!f.!:!il.!color.!! ! Orientador:!Prof.!Dr.!Florivaldo!Menezes!Filho! Dissertação!(Mestrado!em!Música)!–!Universidade!Estadual! Paulista!“Julio!de!Mesquita!Filho”,!Instituto!de!Artes.! ! 1.!Musica!por!computador.!!2.!Composição!(Música).!3.!Música! –!Análise,!apreciação.!I.!Menezes!Filho,!Florivaldo.!II.!Universidade! Estadual!Paulista,!Instituto!de!Artes.!III.!Título.! ! CDD!789.99!!!! ! ! ! ! GEORGE!OLOF!DE!FREITAS!ALVESKOG! Escritura!do!espaço!na!música!eletroacústica! Dissertação aprovada como requisito
    [Show full text]
  • A History of Electronic Music Pioneers David Dunn
    A HISTORY OF ELECTRONIC MUSIC PIONEERS DAVID DUNN D a v i d D u n n “When intellectual formulations are treated simply renewal in the electronic reconstruction of archaic by relegating them to the past and permitting the perception. simple passage of time to substitute for development, It is specifically a concern for the expansion of the suspicion is justified that such formulations have human perception through a technological strate- not really been mastered, but rather they are being gem that links those tumultuous years of aesthetic suppressed.” and technical experimentation with the 20th cen- —Theodor W. Adorno tury history of modernist exploration of electronic potentials, primarily exemplified by the lineage of “It is the historical necessity, if there is a historical artistic research initiated by electronic sound and necessity in history, that a new decade of electronic music experimentation beginning as far back as television should follow to the past decade of elec- 1906 with the invention of the Telharmonium. This tronic music.” essay traces some of that early history and its —Nam June Paik (1965) implications for our current historical predicament. The other essential argument put forth here is that a more recent period of video experimentation, I N T R O D U C T I O N : beginning in the 1960's, is only one of the later chapters in a history of failed utopianism that Historical facts reinforce the obvious realization dominates the artistic exploration and use of tech- that the major cultural impetus which spawned nology throughout the 20th century. video image experimentation was the American The following pages present an historical context Sixties.
    [Show full text]