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1 Vol 15 Issue 01 – 02 January 2007 The Burkina Electric Project and Some Thoughts About Electronic Music in Africa Lukas Ligeti [email protected] http://www.lukasligeti.com Keywords Burkina Electric Project, electronic music, Africa, electronics and computer technology Abstract This paper is an updated summary of a presentation I gave at the Unyazi Electronic Music Festival in Johannesburg, South Africa in 2005. Burkina Electric, founded in 2004, is an ensemble featuring two musicians (singer Mai Lingani and guitarist Wende K. Blass) and two dancers (Hugues Zoko and Idrissa Kafando) from Burkina Faso; the German pop music pioneer Pyrolator on electronics (both audio and visual); and myself on electronics and drums. Our objective is to create and perform original music combining the traditions of Burkina Faso with the world of DJ/club/dance electronica. In so doing, we build bridges between African and Western cultures, especially in the domains of pop/youth culture and experimental music. Burkina Electric's debut CD, Paspanga, was recently released for the Burkinabè market. By using elements of Burkinabè traditional music, including rhythms not usually heard in contemporary urban music, plus rhythms of our own creation, we aim to enlarge the vocabulary of “grooves” in the club/dance landscape; the dancers help audiences interpret these unusual rhythmic patterns. Sonorities and structural models of West African music are transferred to electronics and reassembled and processed in various ways. Rather than superimposing drum programming on top of an African traditional structures, we compose music that aims to organically confront and combine Africa and Occident, and tradition and experiment, while maintaining the particular sensibilities of both worlds. -
Musikprotokoll 1999 Programmbuch
STEIERMARK mo -x -o Xe u,% u, % !I!!! 0 ITI ITI_,, ,:: Z;u !!:u Zu, u,o ~~ n-1 G)~ ::c 0 . ITI :::-;: zo !"~ ::c r o· ITI r ,:: cn :u -1 ITI m O:!I u, mm ... ITI % ,0 :um ,0 ITI :u österreichischer Rundfunk Landesstudio Steiermark Marburgerstraße 20 A-8042 Graz Österreich 1 Argentinierstraße 30a A-1040 Wien ORF Landesstudio Steiermark Radio Österreich 1 Intendant Dr. Edgar Sterbenz KARTEN RESERVIERUNG ORF Landesstudio Steiermark E-mail: [email protected] Alfred Treiber Radio Österreich 1 KARTEN PREISE: Einzelkonzerte: ATS 100,- bis ATS 180, PRODUKTIONSTEAM Tages paß: ATS 300,- bis ATS 400, Programm: Christian Scheib Festivalpaß: ATS 1180,:- Organisation: Rosalinde Vidic 50 % Ermäßigung für Studenten, Schüler, Organisationsassistenz: Sandra Nöst Arbeitslose Internet-Redaktion: Franz Josef Kerstinger, Harald Domitner Musikprotokoll•Programmbuch: ATS 80,- Redaktionsassistenz Programmbuch: Musikprotokoll-Buch Form: ATS 80,- Fränk Zimmer Opernlibretto Dust: ATS 80,- Redaktion und Herausgeberin Form-Buch: Christian Scheib und Sabine Sanio VERANSTALTUNGSORTE Technische Leitung: Gernot Katzer Grazer Congress, Meßdienst-Leitung: Christian Zagler Sparkassenplatz 1, A-8010 Graz Bühnentechnik und Aufbau: Johannes THEATRO, Neubaugasse 6, A-8020 Graz Harpf, Gunter Kögl, Stephan Pichler, Culturcentrum Wolkenstein, Patrick Suppan, Bernd Sracnik Bahnhofstraße 110, A-8950 Stainach Lichttechnik: Thomas Bock Büro im Grazer Congress: IN FORMATION Eingang Albrechtgasse 3, 1. Stock ORF Steiermark - musikprotokoll Telefon: ++43/316 8049-38 Tel.: ++43/316 -
AMN Interviews: Lukas Ligeti – Avant Music News Avant Music News
11/2/2020 AMN Interviews: Lukas Ligeti – Avant Music News Avant Music News A source for news on music that is challenging, interesting, different, progressive, introspective, or just plain weird AMN Interviews: Lukas Ligeti JUNE 10, 2015 ~ MIKE (hps://avantmusicnews.files.wordpress.com/2015/06/5389294442_65b8ed8367.jpg)Compo ser and percussionist Lukas Ligeti (hp://lukasligeti.com/) will celebrate his 50th birthday with two nights of premieres: June 14th at Roulee, and June 11th at the Austrian Cultural Forum. The concert series opens June 11th at the ACFNY, with performances of Lukas’ solo and small ensemble works (performers include Thomas Bergeron, Candy Chiu, Jennifer Hymer, Ben Reimer, David Cossin, and others), and premiere pieces for Lukas’ new classical/indie rock band, Notebook. The festival culminates June 14th at Roulee featuring Lukas’ music for chamber orchestra. Program includes several world premieres, as well as U.S. and New York City premieres, performed by the fresh, contemporary-collective Ensemble mise-en conducted by Oliver Hagen, pianist Vicky Chow, and others. Recently, he took time to answer a few questions from AMN. You are a truly international composer and performer, in the sense that you have followings on at least three continents and have been influenced by the music thereof. How did you develop this global approach to music? My whole life story, even my family history, has predestined me to exist less in any specific culture than in the spaces between them. I was born in Austria to parents who had fled from Hungary. But, being jews, they were not entirely clearly Hungarians, either – not, at least, since having experienced the holocaust. -
Introduction — Unyazi.” “Unyazi” Special Issue, Leonardo Electronic Almanac Vol
1 Vol 15 Issue 01 – 02 January 2007 Introduction UNYAZI Jürgen Bräuninger Associate Professor School of Music University of KwaZulu-Natal Durban 4041 South Africa [email protected] http://www.music.ukzn.ac.za Keywords Unyazi, electronic music, computer music, festival, symposium, workshops, concerts, lectures, South Africa, 2005 Abstract A summary of the first South African electro-acoustic music symposium/festival which took place in Johannesburg, 1-4 September 2005, reviewing its concerts, workshops, and lectures by local and international composers and researchers. Introduction South Africa is famous for many things but certainly not for its electronic music production. However, 35 years after the first electroacoustic music studio was constructed around an ARP-2500 synthesizer at the University of Natal, a small but dedicated number of computer music artists has evolved in the Johannesburg-Cape Town- Durban triangle, and university music departments across the country are now offering music technology courses. In 2003, feeling that it was about time to map the scene and to give it a boost simultaneously, NewMusicSA (the South African section of the International Society for Contemporary Music) proposed an electronic music symposium/festival with Dimitri Voudouris in charge of proceedings. After two years of networking, planning and fundraising, UNYAZI (the isiZulu word for lightning) took place 1-4 September 2005 at all three venues of the Wits Theatre complex in Johannesburg, assembling an illustrious group of local and international electronic music practitioners. Diversity was the obvious festival concept. Halim El-Dabh, who as early as 1944 experimented with a wire recorder in Cairo's radio station, presented some of his vintage works. -
György Ligeti and the Future of Maverick
! György Ligeti and the Future of Maverick Modernity Conference soundSCAPE Festival, 14 July 2014 www.soundSCAPEfestival.org ! 08:00 Check In at Auditorium Città di Maccagno - via Valsecchi 23, Maccagno (VA) !light breakfast pastries, coffee and water will be available for conference presenters 09:15 Welcome Address !Nathanael May, Artistic Director; soundSCAPE !Session 1: Analysis 09:30 Ligeti’s Aventures and Nouvelles Aventures: An exploration of musical technique !Benjamin Levy, Assistant Professor of Music Theory; University of California, Santa Barbara 10:00 The Transcendental Perception of the Piano Concerto (1st movement) by György Ligeti !Lee Kar Tai Phoebus, Teaching Assistant; The Chinese University of Hong Kong 10:30 Timbre and Space in Ligeti's Music !Lukas Haselboeck, Assistant Professor for Music Analysis; University of Music Vienna !11:00 ~ break ~ !Session 2: Performance 11:30 Poème Symphonique: A digital reconstruction !Jason Charney, Bowling Green State University 12:00 Performing Ligeti’s Violin Concerto: A work for the present day !Jane Roper, Professor for Academic Studies; Royal College of Music 12:30 Ligeti and Performance Skills !Peter Susser, Director of Undergraduate Musicianship; Columbia University !13:00 ~ lunch ~ not provided !Session 3: Philosophies 14:30 Codes, Constraints, and the Loss of Control in Ligeti’s Keyboard Works !Amy Bauer, Associate Professor of Music; University of California, Irvine 15:00 Ligeti the Maverick? An Examination of Ligeti’s Ambivalent Role in Contemporary Music !Mike Searby, Principal -
The World of Music
Contents •1 the world of music vol. 45(2) - 2003 Traditional Music and Composition For György Ligeti on his 80th Birthday Max Peter Baumann Editor Jonathan Stock Co-Editor Ashok D. Ranade Christian Utz Guest Editors Tina Ramnarine Book Review Editor Gregory F. Barz CD-Review Editor VWB – Verlag für Wissenschaft und Bildung Berlin 2003 2• the world of music 44 (2) - 2002 Contents •3 Journal of the Department of Ethnomusicology Otto-Friedrich University of Bamberg Vol. 45 (2) – 2003 CONTENTS Traditional Music and Composition For György Ligeti on his 80th Birthday Articles Christian Utz Listening Attentively to Cultural Fragmentation: Tradition and Composition in Works by East Asian Composers . 7 Franki S. Notosudirdjo Kyai Kanjeng: Islam and the Search for National Music in Indonesia . 39 Barbara Mittler Cultural Revolution Model Works and the Politics of Modernization in China: An Analysis of Taking Tiger Mountain by Strategy . 53 Stephen Andrew Ligeti, Africa and Polyrhythm . 83 Taylor Ashok D. Ranade Traditional Musics and Composition in the Indian Context . 95 Composers’ Statements Sandeep Bhagwati Stepping on the Cracks, Or, How I Compose with Indian Music in Mind . 113 Guo Wenjing Traditional Music as Material . 125 Kim Jin-Hi Living Tones: On My Cross-cultural Dance-music Drama Dragon Bond Rite . 127 4• the world of music 44 (2) - 2002 Koo Bonu Beyond “Cheap Imitations” . 133 Lukas Ligeti On My Collaborations with Non-Western Musicians and the Influence of Technology in These Exchanges 137 Qin Wenchen On Diversity . 143 Takahashi Ysji Two Statements on Music . 147 Book Reviews (Tina K. Ramnarine, ed.) From the Book Reviews Editor . -
11-21-09 Percussion Ensemle Prog
Williams College Department of Music Williams Percussion Ensemble Noise/Signal Matthew Gold, director Zoltán Jeney impho 102/6 (1978) Alex Creighton ’10 and if i were in, on, or around (2009) * Brian Simalchik ’10 for percussion quartet Giacinto Scelsi I Riti: Ritual March The Funeral of Achilles (1962) James Romig The Frame Problem (2003) for percussion trio Elliott Sharp Saturate (1993) for baritone saxophone, electric guitar, piano, and percussion Currents - An electronic sound exploration and collaboration between Peter Wise and the Williams Percussion Ensemble Michel van der Aa Between (1997) ** for percussion quartet and soundtrack ** world premiere ** U.S. premiere Saturday, November 21, 2009 8:00 p.m. Chapin Hall Williamstown, Massachusetts Upcoming Events: See music.williams.edu for full details and to sign up for the weekly e-newsletters. 11/22: Shhh Free Sunday: Brooks-Rogers Recital Hall, 1:00 p.m. 11/30: Visiting Artist: Bösendorfer Concert–Seymour Lipkin, Chapin Hall, 8:00 p.m. 12/1: Studio Recital: Violin, Brooks-Rogers Recital Hall, 2:00 p.m. 12/1: Seymour Lipkin Piano Master Class, Brooks-Rogers Recital Hall, 4:15 p.m. 12/2: MIDWEEKMUSIC, Chapin Hall Stage, 12:15 p.m. 12/3: Class of 1960 Lecture: Prof. Elaine Sisman, Bernhard Room 30, 4:15 p.m. 12/4: Williams Symphonic Winds and Opus Zero Band, MASS MoCA, 8:00 p.m. 12/5: Service of Lessons and Carols, Thompson Memorial Chapel, 4:00 p.m. 12/6: Service of Lessons and Carols, Thompson Memorial Chapel, 4:00 p.m. 12/6: Studio Recital: Chamber Music (Winds and Strings), Brooks-Rogers Recital Hall, 7:30 p.m. -
Embodied Rhythm Lukas Ligeti
! Polymeters, Body, and Mind: One Musician’s Creative Experiments with (Dis)embodied Rhythm Proceedings of A Body of Knowledge - Embodied Cognition and the Arts conference CTSA UCI 8-10 Dec 2016 Lukas Ligeti Polymeters, Body, and Mind: One Musician’s Creative Experiments with (Dis)embodied Rhythm As a young music student in Vienna, Austria, I attended several lectures by the ethnomusicologist Gerhard Kubik at the University of Vienna. One form of music he presented, the ancient court music of the Kingdom of Buganda, now in Uganda, completely changed my way of thinking about music. I was an aspiring drummer and composer, learning the craft of my trade, but hoping to become an innovative artist. The most inspiring thing I could have asked for was to find out about a conceptual approach to music that was entirely new to me, and the music of Buganda launched me on a road of experimentation and discovery that continues until today. I am not interested in imitating the music of the Baganda or in appropriating it by taking recognizable elements out of context to use as exotic ornaments for my own music otherwise located in my everyday cultural environment. Rather, my music builds upon the way this tradition makes use of a kind of meta-hearing in order to open doors to new ways for musicians to relate to one another in performance. Among the results of my research and experimentation has been the development of techniques of polymetric and polytempo interplay in ensembles, hopefully leading to new ways of listening to and understanding music, for both performing musicians and audiences; this can be done, to very different effect, both with and without computer technology. -
Bending Towards the Light a Jazz Nativity
December 2011 | No. 116 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com bending towards the light a jazz nativity HOLIDAYGIFT GUIDE VINCENT •••••LUKAS BAIKIDA OGUN FESTIVAL EVENT CHANCEY LIGETI CARROLL RECORDS REPORTS CALENDAR The Holiday Season is kind of like a mugger in a dark alley: no one sees it coming and everyone usually ends up disoriented and poorer after the experience is over. 4 New York@Night But it doesn’t have to be all stale fruit cake and transit nightmares. The holidays should be a time of reflection with those you love. And what do you love more Interview: Vincent Chancey than jazz? We can’t think of a single thing...well, maybe your grandmother. But 6 by Anders Griffen bundle her up in some thick scarves and snowproof boots and take her out to see some jazz this month. Artist Feature: Lukas Ligeti As we battle trying to figure out exactly what season it is (Indian Summer? 7 by Gordon Marshall Nuclear Winter? Fall Can Really Hang You Up The Most?) with snowstorms then balmy days, what is not in question is the holiday gift basket of jazz available in On The Cover: A Jazz Nativity our fine metropolis. Celebrating its 26th anniversary is Bending Towards The 9 by Marcia Hillman Light: A Jazz Nativity (On The Cover), a retelling of the biblical story starring jazz musicians like this year’s Three Kings - Houston Person, Maurice Chestnut and Encore: Lest We Forget: Wycliffe Gordon (pictured on our cover) - in a setting good for the whole family. -
Lounge Masters
Lounge Masters TEXT VON PAUL LOHBERGER, FOTOS: IAN EHM sphärische Schnipsel ins Klangbild einzustreuen, werden auf „Odeon“ nun erstmals längere Texte gesungen. Von Liedern kann trotzdem nicht die Rede sein, Tosca suchen ihre eigene Form. Die reine Spannung soll den Groove erzeugen, dazu tragen die Verse bei. Schon auf „No Hassle“ be- gannen sie, auf Beat-Elemente zu verzichten. „Die perfekte Stunde, am schmalen Grat zwischen in- teressant und langweilig“ möchte Richard Dorf- meister schaffen. Hier bleibt noch viel Klangraum zu durchmessen … Die Hardware Jedenfalls kann das Spielzeug im longtone Studio seine Qualitäten entfalten. Der Klang kommt aus den Boxen und füllt den Raum, sodass man meint, die Schwingungen förmlich greifen zu können. Kein Wunder, die Ultimatum XL 10 von Neat Acoustics gehören zu den kostspieligsten Lausprechern am Markt. Das nicht ohne Grund: Pro Box arbeiten zwölf Komponenten an der Klangausgabe; besondere Präzision gewährleistet das isobarische Basssystem, bei dem immer zwei Bässe hintereinander arbeiten. Große Durchmes- ser, wie sie normale Bassmembranen brauchen, werden dadurch obsolet, mächtiges Volumen kommt im schlanken Gewand daher. Ihre schiere Größe machen die XL 10 trotzdem zu Möbelstü- cken, weshalb aus insgesamt neun Oberflächen gewählt werden kann. Zu Tosca dürfte eine der zwei „Velvet Cloud“-Varianten am besten passen. Wenn Sänger JJ Jones Höhen und Tiefen durch- misst, beginnen Hörerinnen und Hörer zu schwe- ben. Volle Wirkung entfalten die XL 10 allerdings erst ab 30 Quadratmeter Raumfläche: man sollte also ein Loft beschallen, um alle Qualitäten aus- zukosten. Oder zumindest eine Wohnzimmer- Wiener Klassiker in Sachen ANGENEHM UND ANREGEND zugleich, Album „Suzuki“ dem Boom des Wiener Grooves lounge. -
Popular Viennese Electronic Music, 1990–2015 a Cultural History
Popular Viennese Electronic Music, 1990–2015 A Cultural History Ewa Mazierska First published 2019 ISBN: 978-1-138-71391-8 (hbk) ISBN: 978-1-315-23062-7 (ebk) 4 Kruder and Dorfmeister The studio(us) remixers (CC BY-NC-ND 4.0) First published 2019 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Ewa Mazierska The right of Ewa Mazierska to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. With the exception of Chapter 4 and 8, no part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Chapter 4 and 8 of this book is available for free in PDF format as Open Access from the individual product page at www.routledge.com. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Mazierska, Ewa, author. -
The Jazz and Improvised Music Scene in Vienna After Ossiach (1971-2011)
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2013 Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) Thomas Albert Zlabinger Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1684 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FREE FROM JAZZ: THE JAZZ AND IMPROVISED MUSIC SCENE IN VIENNA AFTER OSSIACH (1971-2011) by THOMAS ALBERT ZLABINGER A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2013 ii 2013 THOMAS ALBERT ZLABINGER All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Prof. Jeffrey Taylor Date Chair of Examining Committee Prof. David Olan Date Executive Officer Prof. Peter Manuel Prof. Stephen Blum Prof. Reinhold Wagnleitner (Universität Salzburg) Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Free from Jazz: The Jazz and Improvised Music Scene in Vienna after Ossiach (1971-2011) by Thomas Albert Zlabinger Advisor: Prof. Peter Manuel Focusing on a diverse and eclectic scene that is under-documented, this dissertation investigates the historical, social, and cultural aspects of jazz and improvised music in Vienna over the last four decades.