Bridging Opposites
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Memoires Jaren Met Misha Mengelberg Tekst Dick Lucas
MEMOIRES Jaren met Misha Mengelberg TEKST DICK LUCAS Zondags- kind op maandag Geluidstechnicus Dick Lucas stierf op 4 november 2019, na een langdurige ziekte. Een week eerder, op 27 oktober, voltooide hij het verhaal dat hij over zijn samenwerking met Misha Mengelberg (1935-2017) wilde schrijven, als bijdrage aan diens nagedachtenis. Jazz Bulletin publiceert het, dankbaar en met enige trots, als hommage aan beiden. GERARD ROUY GERARD Misha Mengelberg, Dick Lucas en 36 DECEMBER 2019 jazz bulletin cellist Tristan Honsinger in 2003 37 Misha Mengelberg isha Mengelberg leerde ik De dreigende teloorgang van zoveel talent vondst in het muzikale probleem dat aan impro, maar letterlijker. Door de specta- pas eind jaren zeventig maakte bij Susanna von Canon en mij de orde is, waardoor hij zich er weer uit culaire Amerikaanse saxofonist Keshavan goed kennen, een periode Foster Parents-gevoelens los. Er werd be- redt. Is dat genoeg, of mag je als publiek Maslak op te stellen tussen Nederlandse waarin de Instant Compo- sloten nog eenmaal subsidie te vragen en meer eisen van een muzikant? Komt het er improvisatoren, begin jaren tachtig. Als sers Pool, het in 1967 door die geheel te besteden aan een repetitie- in de kern op neer dat een componist zijn een enorme Amerikaanse SUV tussen Mengelberg, Willem Breuker en Han Ben- en opnamesessie. Als laatste redmiddel eigen weg moet volgen, of draait het om Europese Volkswagentjes. Dat beeld vond M nink opgerichte orkest, in een periode van werd een soort retraite van het orkest ge- publiek dat waar krijgt voor zijn geld? Misha fantastisch. En dan binnen dat verandering verkeerde. -
I- Motor Controller Hardware
ST/JR/021 Achtergracht 19 1017 WL Amsterdam 020-228690 Feb, 1-Sa Clear Steina and Woody, Did Santo Fe get caught when the dam finally broke up in A1asl:a`% I'i-n still finishing tip a second try at flu this winter after too many S,Veel:-, , of ST EI(°lirlg by day while recording by night. ! really appreciated your hospitality and the sneak preview of winter in New (1exico. I hope I con get a second chance some time when there is more time. b,o just to get this going I'm going to list the basic WORK PL/'AN for dour project as i t i s seen by the boys i n the back. room . I f we have missed anything in concept or detail let us know as soon as you earl. Motor controller hardware motor oontroller software Violin interface Pro,;c.;= software i- Motor Controller Hardware Paul Spandermann, STEI(1's chief engineer, has suggested ~;fe make our o ,",,jn motor controller ccomunicating via MIDI instead of using the x!;-bets_ IFtI,I . F,fboards The Advantage: you can use any computer that has MIDI to talk to the motor controller. We know 111D1 as a control language and we have alreadq designed a small control er/computer (ex4x > inches) which can be easilq adapted to control stepper motors and relays . Though this is custom hardware, e feel we could be up and running faster than if we had to learn the A-t++-as ID11 system . We have little IB['1/80x86 programming experience and our schenle would allow you to use the Hac or Atari as a platform for the design of this and future pieces, an altogether more simpatico situation as alci-st = "all" of our software in the recent past has been based on these two rnachines . -
STEIM-Geschichten
STEIM-Geschichten Kurzschlüsse zwischen Klang und Körper seit den 1970ern Andi Otto (Hamburg) Michel Waisvisz: “No Backup Concert”, STEIM 2004 Michel Waisvisz - 2004 STEIM steht für Studio voor Elektro-Instrumentale Muziek. Was aber ‘elektro-instrumental’ konkret bedeuten kann, ist nicht so leicht zu fassen, wie es vielleicht auf einen ersten Blick scheint. Schon beim traditionell Instrumentalen zielt die Frage nach einer Definition bald am Gegenstand vorbei, denn es bestehen keine Konzepte die etwas festschreiben, das wir gültig als Musikinstrumente bezeichnen könnten. Es fliegen den Musikinstrumenten immer neue Attribute zu, alles Kinder der Ästhetiken und Technologien ihrer Zeit. Und andersherum können Dinge zu Instrumenten werden, die zuvor außermusikalisch schienen; das kann man zum Beispiel im Werk von John Cage wunderbar nachvollziehen. Ferruccio Busoni, der 1907 seine berühmte Vision neuer Instrumente formulierte, steht als Pate für zahlreiche Musiker und Komponisten des 20. Jahrhunderts, die auf der Suche nach neuen Klängen den Weg über neue, individuelle Konfigurationen wählten. Plötzlich, eines Tages, schien es mir klar geworden: dass die Entfaltung der Tonkunst an unseren Musikinstrumenten scheitert. [...] Die Instrumente sind an ihren Umfang, ihre Klangart und ihre Aufführungsmöglichkeiten festgekettet, und ihre hundert Ketten müssen den Schaffenwollenden mitfesseln. (Busoni 1973: 33) © Andi Otto: STEIM-GESCHICHTEN. | www.perfomap.de April 2012 1/9 Busoni dachte dabei auch an das Telharmonium, das als einer der ersten elektronischen Klangerzeuger, zimmergroß und tonnenschwer, in die Geschichte eingegangen ist, und in dessen mikrotonale Fähigkeiten der Komponist große Hoffnung setzte (vgl.: Ruschkowski 1998: 18). Sobald beim Instrumentalen aber elektronische und digitale Medien ins Spiel kommen, und das tun sie heute selbstverständlich überall, rückt der Klang einerseits näher zum Komponisten, andererseits weiter weg vom Musiker. -
The Hands: the Making of a Digital Musical Instrument
Giuseppe Torre,∗ Kristina Andersen,† The Hands: The Making of a and Frank Balde´ † ∗Room CS2-007 Digital Media & Arts Digital Musical Instrument Research Centre Department of Computer Science & Information Systems University of Limerick Limerick, Ireland [email protected] †Studio for Electro-Instrumental Music (STEIM) Achtergracht 19 Amsterdam, 1017 WL, Netherlands {kristina, fgb}@steim.nl Abstract: Michel Waisvisz’s The Hands is one of the most famous and long-lasting research projects in the literature of digital music instruments. Consisting of a pair of data gloves and exhibited for the first time in 1984, The Hands is a pioneering work in digital devices for performing live music. It is a work that engaged Waisvisz for almost a quarter of a century and, in turn, has inspired many generations of music technologists and performers of live music. Despite being often cited in the relevant literature, however, the documentation concerning the sensor architecture, design, mapping strategies, and development of these data gloves is sparse. In this article, we aim to fill this gap by offering a detailed history behind the development of The Hands. The information contained in this article was retrieved and collated by searching the STEIM archive, interviewing close collaborators of Waisvisz, and browsing through the paper documentation found in his personal folders and office. ...it was very restrictive and very difficult the composer relentlessly for 25 years of his life, too ...but it was a huge lesson! little in the way of documentation or records of this —Michel Waisvisiz, 24 April 2007 effort is available. Waisvisz believed that the magic of a performance can be communicated only live, Michel Waisvisz (1949–2008) was a composer, not in a recording (Waisvisz 1999). -
Alternative Histories of Electronic Music 14-16 April 2016 International Conference Staged As Part of the AHRC Funded Project Hugh Davies: Electronic Music Innovator
Alternative Histories of Electronic Music 14-16 April 2016 International conference staged as part of the AHRC funded project Hugh Davies: Electronic Music Innovator Science Museum Dana Research Centre, Queen’s Gate, London The Hugh Davies Project This first international conference on ‘Alternative Histories of Electronic Music’ (AHEM) is being staged as part of an AHRC-funded project exploring the work of the English musician and musicologist Hugh Davies (1943-2005). The project is led by Dr James Mooney (University of Leeds) in partnership with Dr Tim Boon (Science Museum). http://hughdaviesproject.wordpress.com In the late 1960s, Davies produced a comprehensive inventory of electronic music compositions, entitled International Electronic Music Catalog (1968), in which he documented the output of 560 studios in 39 countries. This challenged the hegemony of the Paris, Cologne, and New York schools, whose activities had dominated the literature of the 1950s and 60s. As such, Davies provided what was perhaps the first alternative version of electronic music’s history. While this conference is not directly ‘about’ Hugh Davies, then, it does explore some of the broader issues raised by his work. 2 Table of Contents Schedule ............................................................................................................................................ 4 Session 1: Discourses, narratives and canon formation 1 ............................................ 7 Session 2A: Live Electronics .................................................................................................. -
On the Threshold of Beauty Philips and the Origins Of
Kees Tazelaar On the Threshold of Beauty Philips and the Origins of Electronic Music in the Netherlands 1925–1965 revised PDF edition, 2020 Dedicated to Dick Raaijmakers and Gottfried Michael Koenig Contents Foreword by Daniel Teruggi 7 Introduction 9 Part I Electroacoustics and Electronic Music at Philips Research Laboratories 1 Developments in Electroacoustics at Philips before 1945 17 Philips Research Laboratories · 17 Radios and Loudspeaker Development · 18 Film Sound: The Loetafoon and the Film “Philips Radio” · 22 The Philips-Miller Recording System · 26 Stereophonic Sound · 28 Synthetic Sound · 33 The Philiolist Loudspeaker Violins · 36 2 After World War II: Towards Electronic Music 38 “Canned Music” and a Music Laboratory · 38 Collaboration with Leopold Stokowski · 40 Leopold Stokowski and Roelof Vermeulen at the Concertgebouw · 45 Multiplication of Concerts · 50 Ambiophonics and Reverberation · 53 The Gravesano Music and Electroacoustics Conference · 59 Electronic Musical Instruments for the Fair of Science · 62 3 The Studio at Philips Research Laboratories 64 Henk Badings and the Nederlandse Radio Unie · 64 Henk Badings’ “Kaïn en Abel” and the Studio Equipment in Room 306 · 66 “Variations électroniques” and Philips’ Commercial Animation Films · 72 The Electronic Popular Music of Dick Raaijmakers, aka Kid Baltan · 77 Tom Dissevelt’s “Electronic Movements” · 80 More Electronic Music by Henk Badings · 83 Ton de Leeuw’s “Antiphonie” for Wind Quintet and Electronic Sounds · 86 The Composer Dick Raaijmakers · 87 The End of the Studio -
Gene Youngblood 505 455 3244 P .01
GENE YOUNGBLOOD 505 455 3244 P .01 CXN %8/ Ti ON d P VVS a N STEINA VASULKA : THE ELECTRONIC SUBLIME JAN 2U . /995 AT TN E CLIiT'VA, Fu 2 COAfrCMQ. A RTS, sA N7A FE. N . IV1 . Stein& Vasulka grew up in primordial Iceland surrounded by that terrible beauty which philosophers call the Sublime . The Aurora Borealis haunted the heavens above her family home . Through her window she could see erupting volcanoes . She could walk up to rivers of flowing lava . She could climb above raging cataracts, stand before sulphurous geysers, gaze into the thundering vents and blowholes of Iceland's fractal coast . The fearsome majesty of fire and water animates this exhibition of works in multiscreen video, an art form Steina pioneered a quarter of a century ago . For Steins, a concert violinist, the images and sounds of a multiscreen composition are equivalent to musical polyphony, functioning like voices (instruments) in an ensemble . The multiscreen works in this exhibition -- two of them recent, one created more than twenty years ago -- are audiovisual equivalents of the trio, the quartet, the sextet . Steins proceeds as would a composer, playing on the visual equivalents of timbre, texture and tone . Her compositional strategies include recording scenes with her camera upside down, slowing their motion, reversing their direction, flipping them right-left, or combinations of these possibilities . Each channel of image and sound is edited to integrate with the others in an audiovisual point/counterpoint organized around duration, interval, rhythm, repetition and series . Pyroglyphs (1995) was recorded aL the Santa Pe foundry of metalemith Tom Joyce, with whom Steina shares "a fascination with fire -- as a phenomenon and as a medium that transforms other materials . -
Chronologie Konzerte Taktlos 2017 – 1984 + Fabrikjazz 2017 – 1981
chronologie konzerte taktlos 2017 – 1984 + fabrikjazz 2017 – 1981 D a t u m G r u p p e M u s i k e r I n n e n 2017 2017-12-17 Alexander von Schlippenbach Trio «Winterreise» \ Alexander von Schlippenbach, piano; Evan Parker, soprano-/tenorsax; Paul Lytton, drums 2017-11-19 Michel Benita Ethics \ Nguen Lê, guitar/electronics; Mieko Miyazaki, koto; Matthieu Michel, flugelhorn; Michel Benita, bass; Philippe Garcia, drums/electr 2017-06-03 Japanese New Music Festival 2017 \ KAWABATA Makoto, guitar; TSUYAMA Atsushi, bass; YOSHIDA Tatsuya, drums/vocals .. KAWABATA Makoto SOLO: KAWABATA Makoto, guitar … AKATEN: YOSHIDA Tatsuya, zippers/scissors/vocals; TSUYAMA Atsushi, zippers/vocals …. TSUYAMA Atsushi SOLO: TSUYAMA Atsushi, guitar/vocals ….. RUIN ALONE: YOSHIDA Tatsuya, drums/percussion/vocals …… ZOFFY: TSUYAMA Atsushi, guitar/vocals; KAWABATA Makoto, bass ……. PSYCHE BYGO: TSUYAMA Atsushi, bass/vocals; KAWABATA Makoto, guitar; YOSHIDA Tatsuya, drums/oercussion …….. ZUBI ZUVA X: YOSHIDA Tatsuya,vocals; KAWABATA Makoto, vocals; TSUYAMA Atsushi, vocals ……... ACID MOTHERS TEMPLE SWR: KAWABATA Makoto, guitar; TSUYAMA Atsushi, bass; YOSHIDA Tatsuya, drums/vocals 2017-05-19 Nils Wogram Root 70 \ Nils Wogram, trombone; Hayden Chisholm, altosax; Matt Penman, bass; Jochen Rückert, drums 2017-05-07 Taktlos_17: \ Michael Flury, trombone; Bernhard Bamert, trombone; Nils Wogram, trombone; Evelinn Trouble, voice; Andrina Bollinger, voice; Colin Vallon, piano; Roman Flury und Die Nachgeborenen Bruderer, afrobeat; Julian Sartorius, subdivisions; DJ Kay-Zee, -
Listening with Hands Takuro Mizuta
Listening with Hands: The Instrumental Impulse and Invisible Transformation in Turntablism Takuro Mizuta Lippit Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. De Montfort University March 2020 Abstract Although the discourse of turntablism revolves around the transformation of sound reproduction devices into musical instruments, narratives of incidental misuses and serendipitous encounters such as Grand Wizzard Theodore’s discovery of the “scratch” or Christian Marclay’s record found on the street, reduce this transformation to singular points in history and fail to capture the gradual process embedded within an artistic pursuit. The compositions, performances, installations, and research presented in this thesis are created through an artistic negotiation with the “instrumental impulse” and an interconnected “instrumental setup” that in turn transforms generic devices into personal musical instruments. These works are contextualized within the innovative works of King Tubby, Grandmaster Flash, Michel Waisvisz, and reexamine both hip hop and experimental turntablism with a practice that explores and exploits tactile characteristics of the technology and media. “Listening with hands” re-envisions turntablism through the dualistic nature of interacting with the turntable – an act that is simultaneously both listening and playing. ii Table of Contents Abstract ⅱ List of works ⅵ-ⅸ List of figures x-ⅺ Acknowledgements ⅻ Chapter 1: Introduction – Overview, Context, and Outcomes 1-12 1.0 Objective