Electroacoustic Music Studios BEAST Concerts in 1990

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Electroacoustic Music Studios BEAST Concerts in 1990 Aural Cinema, London, England, 11th - 12th May More about BEAST concerts:- Edinburgh International Festival, Edinburgh, Scotland, 18th August ICMC 1990, Glasgow, Scotland, 10th - 15th September Concert news Concert archives Aural Cinema, 11th - 12th May 1990 Purcell Room, London, England Diffusion for the Sonic Arts Network. Edinburgh International Festival, 18th August 1990 Edinburgh, Scotland Details unknown. International Computer Music Conference 1990, 10th - 15th September 1990 Glasgow, Scotland BEAST provided all diffusion and PA for this series of concerts, achieving international recognition. 10th September 1 pm Barry Anderson - Electro-acoustic Fanfare Shirish Korder - Time Grids William Brunson - Exile and Life Close to the Horizon John Maxwell Geddes - Leo, Dreaming... Emile Tobenfeld - improvisation 5 pm 1. Rodolfo Caesar - Introduction to the Stone 2. David Little - Harpsi-Kord 3. Andrew Lewis - Time and Fire 4. Keith Hamel - Thrust 11th September 12th September 1 pm 1 pm 1. Rodney Waschka II - Help Me Remember 1. Chris Chafe and Dexter Morrill - duo improvisation 2. Horacio Vaggione - Scir 2. Richard Boulanger - I Know of no Geometry 3. Michael McNabb - Lark Full Cloud 3. Arne Eigenfeldt - Inside Leanardo 4. Mark Schulz - Dragons in the Sky 8 pm 8 pm 1. Todd Winkler - Cascade: Concerto for Harp and Tape 2. Arne Eigenfeldt - Sands of Sirocco 1. Michael Vaughan - Crosstalk 3. Cort Lippe - String Trio Music 2. Bob Pritchard - Postcards from our Futures 4. Javier Alvarez - Acuerdos Por Diferencia 3. Nicholas Virgo - Domestic Blitz 5. Chris Chafe - Vanishing Point 4. David Jaffe - Telegram to the President 6. David Evans Jones - Still Life in Wood and Metal 5. Michael Vaughan - Ensphered 6. Stephen Montague - Haiku 7. Sten Olaf Hellstrom - Flugan II 8. Rohan de Livera - Serendipity 13th September 14th September 1 pm 1 pm Wayne Siegel, Ivar Frounberg, Fuzzy, Svend Aaquist Johansen - Netvaerk 1. Paul Rhys - Ebb and Flow 2. Adelhard Roidinger - Aquaphon 8 pm 3. Laurie Spiegel - Three Sonic Spaces 4. Robert Rowe - Sun and Ice 5. Trevor Wishart - Vox 5 1. Peter Bosch - Rebombe de Redoble 2. David Keane - Pianocentrix 3. Francis Dhomont - Novars 8 pm 4. Brian Bevelander - Synthecisms II 1. Michael Matthews - The First Sea 2. Paul Lansky - Quakerbridge 3. Dexter Morrill - Six Dark Questions 4. David Jaffe - Impossible Animals 5. Thomas Wells - Ricordanze 6. Jean-Claude Risset - Inharmonique Electroacoustic music studios BEAST Concerts in 1989 Concerts in 1991 .

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The Importance of Being Digital Paul Lansky 3/19/04 Tart-Lecture 2004
The Importance of Being Digital Paul Lansky 3/19/04 tART-lecture 2004 commissioneed by the tART Foundation in Enschede and the Gaudeamus Foundation in Amsterdam Over the past twenty years or so the representation, storage and processing of sound has moved from analog to digital formats. About ten years audio and computing technologies converged. It is my contention that this represents a significant event in the history of music. I begin with some anecdotes. My relation to the digital processing and music begins in the early 1970’s when I started working intensively on computer synthesis using Princeton University’s IBM 360/91 mainframe. I had never been interested in working with analog synthesizers or creating tape music in a studio. The attraction of the computer lay in the apparently unlimited control it offered. No longer were we subject to the dangers of razor blades when splicing tape or to drifting pots on analog synthesizers. It seemed simple: any sound we could describe, we could create. Those of us at Princeton who were caught up in serialism, moreover, were particularly interested in precise control over pitch and rhythm. We could now realize configurations that were easy to hear but difficult and perhaps even impossible to perform by normal human means. But, the process of bringing our digital sound into the real world was laborious and sloppy. First, we communicated with the Big Blue Machine, as we sometimes called it, via punch cards: certainly not a very effective interface. Next, we had a small lab in the Engineering Quadrangle that we used for digital- analog and analog-digital conversion.
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(CCM)2 - College-Conservatory of Music Center for Computer Music, University of Cincinnati
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A Study on the Use of Vocal Samples and Vocal Transformation Techniques in the Music of Paul Lansky and Trevor Wishart
THE UNIVERSITY OF SYDNEY 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 Copyright Service. sydney.edu.au/copyright A Study on the Use of Vocal Samples and Vocal Transformation Techniques the Music of Paul Lansky and Trevor Wishart Shamun Hameed A thesis submitted in partial fulfilment of the requirements for the degree of Master of Music (Composition) Sydney Conservatorium of Music University of Sydney 2005 Table of Contents A b s tr a c t iii C h a p te r 1 Introduction
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