Muc 4313/5315
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
THOUSAND MILE SONG Also by David Rothenberg
THOUSAND MILE SONG Also by David Rothenberg Is It Painful to Think? Hand’s End Sudden Music Blue Cliff Record Always the Mountains Why Birds Sing THOUSAND MILE SONG Whale Music In a Sea of Sound DAVID ROTHENBERG A Member of the Perseus Books Group New York Copyright © 2008 by David Rothenberg Published by Basic Books, A Member of the Perseus Books Group All rights reserved. Printed in the United States of America. No part of this book may be reproduced in any manner whatsoever without written permission except in the case of brief quotations embodied in critical articles and reviews. For information, address Basic Books, 387 Park Avenue South, New York, NY 10016–8810. Books published by Basic Books are available at special discounts for bulk purchases in the United States by corporations, institutions, and other organizations. For more information, please contact the Special Markets Department at the Perseus Books Group, 2300 Chestnut Street, Suite 200, Philadelphia, PA 19103, or call (800) 255–1514, or e-mail [email protected]. Designed by Linda Mark Set in 12 pt Granjon by The Perseus Books Group Library of Congress Cataloging-in-Publication Data Rothenberg, David, 1962- Thousand mile song: whale music in a sea of sound / David Rothenberg. p. cm. Includes bibliographical references and index. ISBN 978-0-465-07128-9 (alk. paper) 1. Whales—Behavior. 2. Whale sounds. I. Title. QL737.C4R63 2008 599.5’1594—dc22 2007048161 10 9 8 7 6 5 4 3 2 1 CONTENTS 1 WE DIDN’T KNOW, WE DIDN’T KNOW: Whale Song Hits the Charts 1 2GONNA GROW -
Gardner • Even Orpheus Needs a Synthi Edit No Proof
James Gardner Even Orpheus Needs a Synthi Since his return to active service a few years ago1, Peter Zinovieff has appeared quite frequently in interviews in the mainstream press and online outlets2 talking not only about his recent sonic art projects but also about the work he did in the 1960s and 70s at his own pioneering computer electronic music studio in Putney. And no such interview would be complete without referring to EMS, the synthesiser company he co-founded in 1969, or namechecking the many rock celebrities who used its products, such as the VCS3 and Synthi AKS synthesisers. Before this Indian summer (he is now 82) there had been a gap of some 30 years in his compositional activity since the demise of his studio. I say ‘compositional’ activity, but in the 60s and 70s he saw himself as more animateur than composer and it is perhaps in that capacity that his unique contribution to British electronic music during those two decades is best understood. In this article I will discuss just some of the work that was done at Zinovieff’s studio during its relatively brief existence and consider two recent contributions to the documentation and contextualization of that work: Tom Hall’s chapter3 on Harrison Birtwistle’s electronic music collaborations with Zinovieff; and the double CD Electronic Calendar: The EMS Tapes,4 which presents a substantial sampling of the studio’s output between 1966 and 1979. Electronic Calendar, a handsome package to be sure, consists of two CDs and a lavishly-illustrated booklet with lengthy texts. -
Vprom User Manual
EPROM DRUMS www.alyjameslab.com USER MANUAL 2.0 BY Aly James ©2014-2016 ALYJAMESLAB TABLE OF CONTENTS INTRODUCTION............................................................................................................................. 3 WHAT’S NEW IN V2.0? .................................................................................................................. 6 INSTALLATION............................................................................................................................... 7 CONTROL PANELS ........................................................................................................................10 THE AM6070 DAC.........................................................................................................................13 SAMPLE TUNING ..........................................................................................................................17 THE HIHAT CASE...........................................................................................................................20 MAIN PANEL ................................................................................................................................21 CEM FILTERS ................................................................................................................................22 SETTINGS .....................................................................................................................................24 EPROM LOADING .........................................................................................................................26 -
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131
Music 80C History and Literature of Electronic Music Tuesday/Thursday, 1-4PM Music Center 131 Instructor: Madison Heying Email: [email protected] Office Hours: By Appointment Course Description: This course is a survey of the history and literature of electronic music. In each class we will learn about a music-making technique, composer, aesthetic movement, and the associated repertoire. Tests and Quizzes: There will be one test for this course. Students will be tested on the required listening and materials covered in lectures. To be prepared students must spend time outside class listening to required listening, and should keep track of the content of the lectures to study. Assignments and Participation: A portion of each class will be spent learning the techniques of electronic and computer music-making. Your attendance and participation in this portion of the class is imperative, since you will not necessarily be tested on the material that you learn. However, participation in the assignments and workshops will help you on the test and will provide you with some of the skills and context for your final projects. Assignment 1: Listening Assignment (Due June 30th) Assignment 2: Field Recording (Due July 12th) Final Project: The final project is the most important aspect of this course. The following descriptions are intentionally open-ended so that you can pursue a project that is of interest to you; however, it is imperative that your project must be connected to the materials discussed in class. You must do a 10-20 minute in class presentation of your project. You must meet with me at least once to discuss your paper and submit a ½ page proposal for your project. -
Program Notes
NSEME 2018 Installations (ongoing throughout festival) Four4 (1991, arr. 2017) - room 2009 Anthony T. Marasco, Eric Sheffield, Landon Viator, Brian Elizondo ///Weave/// (2017) - room 2008 Alejandro Sosa Carrillo (1993) Virtual Reality Ambisonic Toolkit (2018) - room 2011 Michael Smith (1983) Within, Outside, and Beside Itself:The Architecture of the CFA - room 2013 Jordan Dykstra (1985) Installations Program Notes: Alejandro Carrillo “///Weave///” A generative system of both random and fixed values that cycle over a period of 6 minutes. By merging light and sound sine waves, parameters such as frequency, amplitude and spatialization have been mapped into three sound wave generators or voices (bass line, harmonies and lead) and three waveforms from a modular video synthesizer on MaxMSP aiming to audiovisual synchronicity and equivalence. Jordan Dykstra “Within, Outside, and Beside Itself: The Architecture of the CFA” A performance which plays not only with the idea of lecture-performance as a musicological extension of history, narrative, and academic performance-composition Within, Outside, and Beside Itself: The Architecture of the CFA also addresses how the presenta- tion of knowledge is linked to the production of knowledge through performance. I believe that creating space for new connections through creative presentation and alternative methodologies can both foster new arenas for discussion and coordinate existing relationships between academia and the outside world. A critique regarding how the Center for the Arts at Wesleyan University func- tions as an academic institution, as well as its physical role as the third teacher, my lecture performance playfully harmonizes texts from art historians at Wesleyan University, archaeologists, critical theorists, YouTube transcriptions, quotes from the founder of the Reggio Emilia school, and medical journal articles about mirror neurons. -
Computer Music
THE OXFORD HANDBOOK OF COMPUTER MUSIC Edited by ROGER T. DEAN OXFORD UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2009 by Oxford University Press, Inc. First published as an Oxford University Press paperback ion Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data The Oxford handbook of computer music / edited by Roger T. Dean. p. cm. Includes bibliographical references and index. ISBN 978-0-19-979103-0 (alk. paper) i. Computer music—History and criticism. I. Dean, R. T. MI T 1.80.09 1009 i 1008046594 789.99 OXF tin Printed in the United Stares of America on acid-free paper CHAPTER 12 SENSOR-BASED MUSICAL INSTRUMENTS AND INTERACTIVE MUSIC ATAU TANAKA MUSICIANS, composers, and instrument builders have been fascinated by the expres- sive potential of electrical and electronic technologies since the advent of electricity itself. -
Raesonanz Pressemappe Muen
PRESSEMAPPE räsonanz – Stifterkonzert München 2017 INHALT ZUR INITIATIVE Leitbild räsonanz – Stifterkonzerte Ernst von Siemens Musikstiftung Pressemitteilung Interview mit Michael Roßnagl, Michael Haefliger und Winrich Hopp von Max Nyffeler Interview mit Bettina und Peter von Siemens über Stiftungsgründer Ernst von Siemens Vorschau Luzern 2017 und München 2018 räsonanz – STIFTERKONZERT MÜNCHEN 2017 Programm Luciano Berio über Coro Claude Vivier über Lonely Child Claude Vivier im Gespräch mit Susan Frykberg BIOGRAFIEN Biografien der Komponisten – Luciano Berio – György Ligeti – Claude Vivier Biografien der Interpreten – Sophia Burgos – Teodor Currentzis – MusicAeterna Choir – Mahler Chamber Orchestra BILDMATERIAL musica viva DES BAYERISCHEN RUNDFUNKS UND LUCERNE FESTIVAL ZUR INITIATIVE räsonanz Stifterkonzerte Mit der Stifterkonzertreihe räsonanz kommt die Ernst von Siemens Musikstiftung ihrer Verantwortung für die zeitgenössische Musik auf ganz besondere Weise nach. Gemeinsam mit ihren Partnern LUCERNE FESTIVAL und musica viva des Bayerischen Rundfunks ermöglicht sie jedes Jahr ein Konzert in München und Luzern: Werke der Gegenwart werden von internationalen Spitzenorchestern und namhaften Solisten zur Aufführung gebracht. Die Ernst von Siemens Musikstiftung bringt so den Stiftergedanken zum Klingen: Ernst von Siemens steht für unternehmerische Vernunft und einzigartigen Weitblick, für gesellschaftliche Verantwortung und anspruchsvolle Förderung von Wissenschaft und Kunst. Gesellschaftliche Relevanz und künstlerischer Anspruch, wagemutige -
Digital Developments 70'S
Digital Developments 70’s - 80’s Hybrid Synthesis “GROOVE” • In 1967, Max Mathews and Richard Moore at Bell Labs began to develop Groove (Generated Realtime Operations on Voltage- Controlled Equipment) • In 1970, the Groove system was unveiled at a “Music and Technology” conference in Stockholm. • Groove was a hybrid system which used a Honeywell DDP224 computer to store manual actions (such as twisting knobs, playing a keyboard, etc.) These actions were stored and used to control analog synthesis components in realtime. • Composers Emmanuel Gent and Laurie Spiegel worked with GROOVE Details of GROOVE GROOVE System included: - 2 large disk storage units - a tape drive - an interface for the analog devices (12 8-bit and 2 12-bit converters) - A cathode ray display unit to show the composer a visual representation of the control instructions - Large array of analog components including 12 voltage-controlled oscillators, seven voltage-controlled amplifiers, and two voltage-controlled filters Programming language used: FORTRAN Benefits of the GROOVE System: - 1st digitally controlled realtime system - Musical parameters could be controlled over time (not note-oriented) - Was used to control images too: In 1974, Spiegel used the GROOVE system to implement the program VAMPIRE (Video and Music Program for Interactive, Realtime Exploration) • Laurie Spiegel at the GROOVE Console at Bell Labs (mid 70s) The 1st Digital Synthesizer “The Synclavier” • In 1972, composer Jon Appleton, the Founder and Director of the Bregman Electronic Music Studio at Dartmouth wanted to find a way to control a Moog synthesizer with a computer • He raised this idea to Sydney Alonso, a professor of Engineering at Dartmouth and Cameron Jones, a student in music and computer science at Dartmouth. -
“The Dying of the Light”
“The Dying of the Light” How Common Core No. 113 Damages Poetry Instruction April 2014 A Pioneer Institute White Paper by Anthony Esolen, Jamie Highfill, and Sandra Stotsky Pioneer’s Mission Pioneer Institute is an independent, non-partisan, privately funded research organization that seeks to improve the quality of life in Massachusetts through civic discourse and intellectually rigorous, data- driven public policy solutions based on free market principles, individual liberty and responsibility, and the ideal of effective, limited and accountable government. Pioneer’s Centers This paper is a publication of the Center for School Reform, which seeks to increase the education options available to parents and students, drive system-wide reform, and ensure accountability in public education. The Center’s work builds on Pioneer’s legacy as a recognized leader in the charter public school movement, and as a champion of greater academic rigor in Massachusetts’ elementary and secondary schools. Current initiatives promote choice and competition, school- based management, and enhanced academic performance in public schools. The Center for Better Government seeks limited, accountable government by promoting competitive delivery of public services, elimination of unnecessary regulation, and a focus on core government functions. Current initiatives promote reform of how the state builds, manages, repairs and finances its transportation assets as well as public employee benefit reform. The Center for Economic Opportunity seeks to keep Massachusetts competitive by promoting a healthy business climate, transparent regulation, small business creation in urban areas and sound environmental and development policy. Current initiatives promote market reforms to increase the supply of affordable housing, reduce the cost of doing business, and revitalize urban areas. -
The Definitive Guide to Evolver by Anu Kirk the Definitive Guide to Evolver
The Definitive Guide To Evolver By Anu Kirk The Definitive Guide to Evolver Table of Contents Introduction................................................................................................................................................................................ 3 Before We Start........................................................................................................................................................................... 5 A Brief Overview ......................................................................................................................................................................... 6 The Basic Patch........................................................................................................................................................................... 7 The Oscillators ............................................................................................................................................................................ 9 Analog Oscillators....................................................................................................................................................................... 9 Frequency ............................................................................................................................................................................ 10 Fine ...................................................................................................................................................................................... -
Electronic Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The Research Repository @ WVU (West Virginia University) Graduate Theses, Dissertations, and Problem Reports 2018 Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Follow this and additional works at: https://researchrepository.wvu.edu/etd Part of the Musicology Commons, and the Other Music Commons Recommended Citation Kopcienski, Jacob A., "Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music" (2018). Graduate Theses, Dissertations, and Problem Reports. 7493. https://researchrepository.wvu.edu/etd/7493 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Rethinking Interaction: Identity and Agency in the Performance of “Interactive” Electronic Music Jacob A. Kopcienski Thesis submitted To the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Musicology Travis D. -
From Silver Apples of the Moon to a Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN
From Silver Apples of the Moon to A Sky of Cloudless Sulphur: V Morton Subotnick & Lillevan 2015 US, Europe & JAPAN February 3 – 7 Oakland, California Jean Macduff Vaux ComposerinResidence at Mills College February 7 Oakland, California Mills College, Littlefield Concert Hall March 7 Moscow Save Festival at Arma March 4 New York the Kitchen: SYNTH Nights May Tel-Aviv, Israel Vertigo Dance Company June 7 London Cafe Oto June 16 Tel-Aviv, Israel Israel Museum June 20 Toronto Luminato Festival/Unsound Toronto July 28 Berlin Babylon Mitte (theatre) September 11 Tokyo TodaysArt.JP Tokyo September 12 Yamaguchi YCAM September 20 Kobe TodaysArt.JP Kobe November 22 Washington, DC National Gallery of Art 1 Morton Subotnick 2015 Other Events photo credit: Adam Kissick for RECORDINGS WERGO released in June 2015 After the Butterfly The Wild Beasts http://www.schott-music.com/news/archive/show,11777.html?newsCategoryId=19 Upcoming re-releases from vinyl on WERGO Fall 2015: Axolotl, Joel Krosnick, cello A Fluttering of Wings with the Juilliard Sting Quartet Ascent into Air from Double life of Amphibians The Last Dream of the Beat for soprano, Two Celli and Ghost electronics; Featuring Joan La Barbara, soprano Upcoming Mode Records: Complete Piano Music of Morton Subotnick The Other Piano, Liquid Strata, Falling Leaves and Three Piano Preludes. Featuring SooJin Anjou, pianist Release of a K-6 online music curriculum: Morton Subotnicks Music Academy https://musicfirst.com/msma 2 TABLE OF CONTENTS PROGRAM INFO Pg 4 CONCERT LISTING AND BIOS Pg 5 CAREER HIGHLIGHTS Pg 6 PRESS PHOTOS Pg 8 AUDIO AND VIDEO LINKS Pg 13 PRESS QUOTES Pg 15 TECH RIDER Pg 19 3 PROGRAM INFO TITLE OF WORK TO BE PRESENTED From Silver Apples of the Moon to A Sky of Cloudless Sulphur Revisited :VI PROGRAM DESCRIPTION A light and sound duet utilizing musical resources from my analog recordings combined with my most recent electronic patches and techniques performed spontaneously on my hybrid Buchla 2003/Ableton Live ’instrument’, with video animation by Lillevan.