DOCSLIB.ORG

Presents a Tribute to Jean-Jacques Perrey

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Presents a Tribute to Jean-Jacques Perrey GOTYE PRESENTS A TRIBUTE TO JEAN-JACQUES PERREY PERFORMED BY ONDIOLINE ORCHESTRA Photo: Anna Webber Anna Webber Photo: GOTYE PRESENTS A TRIBUTE TO JEAN-JACQUES PERREY AUSTRALIA BAY 17 CARRIAGEWORKS 16 & 17 JANUARY 75 MINS Caricature of Jean-Jacques Perrey by Marcel Bouret ONDIOLINE OCHESTRA ABOUT THE WORK Wally De Backer Over many decades of sonic exploration, Ondioline Orchestra is a new ensemble Ondioline, Samples, Vocals Jean-Jacques Perrey was a musical dedicated to preserving and extending the Ben Edgar chameleon. legacy of French inventor Georges Jenny’s Guitar and Percussion remarkable electronic musical instrument, In the 1950s he was the first and only Sean Dixon the Ondioline. The Orchestra has been virtuoso of the rare French electronic musical Drums and Percussion brought together by Wally De Backer instrument, the Ondioline, developing a Joe McGinty (a budding Ondiolinist, but better-known remarkable facility for accompanying himself Moogs, Organs, Samples as alternative pop artist Gotye). For this on piano with his left hand, while his right Jordan Scannella tribute concert to Jean-Jacques Perrey, coaxed an entire orchestra’s palette of Upright and Electric Bass the ensemble plays all sounds live, sounds from the small proto-synthesizer. Rob Schwimmer including Jean-Jacques’ signature Ondioline, Theremin, Moogs, In the 1960s he was a pioneer of rhythmic sample sounds, diverse Ondioline timbres Samples tape-edit sampling techniques, crafting a on restored original instruments, and Gideon Brazil uniquely whimsical and instantly recognisable theremin and Moog patches modelled Clarinet library of musique concrète sounds with on original recordings. Wally De Backer which he made memorably melodic and Project Coordination highly joyful electronic pop music. REPERTOIRE 1. La Vache et le Prisonnier (The Cow Stephen Masucci In the late 1960s and 1970s he was an early Ondioline Restorations and the Prisoner) explorer of the Moog modular synthesiser, 2. Visa To The Stars Chris Greissler interpolating an incredible inventory of Moog Patch Recreations 3. playful patches into pop, rock and funk Swan's Splashdown Nick Oddy arrangements that have been sampled 4. Spooks In Space Musical Arrangements extensively by contemporary producers. 5. Mod Ghost Rob Schwimmer 6. Danielle of Amsterdam Musical Arrangements Ondioline Orchestra hope to share the spirit 7. Prélude à la Rose (Prelude for a Rose) Jeff Sugg of joy that Jean-Jacques so exuberantly Lighting Design communicated with much of his music, but 8. Cigale (The Cicadas of Provence) 9. Taylor Hyslap also to draw attention to rare and unreleased Cosmic Ballad Lighting Engineer works from the maestro’s archive. These 10. Chicken On The Rocks Lachlan Carrick lesser-known pieces, including collaborations 11. The Little Ships Sound Engineer with Angelo Badalamenti (Danielle of 12. Pioneers of the Stars Amsterdam), Billy Goldenberg (Dandelion Kevin Posey 13. Dandelion Wine Wine) and the 1959 soundtrack to La Vache Stylist 14. et le Prisonnier, reveal a deeply sensitive and L'âme des Poètes (The Soul of Aaron Rosenblum the Poets) Project Manager reflective side to Jean-Jacques’ musicianship, pointing towards a composer/producer/ 15. Flight of the Bumblebee performer who, though celebrated for his 16. Gossipo Perpetuo wonderful work combining highly unusual 17. E.V.A. sounds in boisterous pop arrangements, 18. Soul City deserves to be further explored. 19. Passport To The Future.
Load more

Recommended publications
  • NCRC Award Brian Docs
    NCRC 2012 Radio Awards Application, Documentary Bio and Program Note Producer: Brian Meagher Bio: It all began when I was six years old and I heard `Popcorn` for the first time. I remember being at the A&W Drive-In, the waitresses arriving at our car on roller skates, and this incredible song providing the soundtrack. Electronic music has provided my soundtrack ever since. Program: Synthumentary (episodes 1-3) Description: Synthumentary is a five-part look at the evolution of the electronic instruments and their place in popular culture, from the earliest electromechanical musical devices to the Moog explosion of the late 60`s and early 70`s. Synthumentary presents a survey of the landmark inventors, instruments, artists and recordings of each era. In each episode, we look at a different scene, discuss the era`s principle actors and play some of their music to illustrate the style of music made at the time. The evolution of electronic music technology is explained to frame each episode. Our aim is to provide the casual listener of electronic music with an appreciation of its possibilities and the more knowledgeable fan with at least a few nuggets of novel information. Among the subjects covered are: The Telharmonium, Theremin, The ”Forbidden Planet” Soundtrack, Raymond Scott, The Ondioline, Jean-Jacques Perrey and Gershon Kingsley, Bob Moog and the Moog music phenomena, Silver Apples, and the Canadian scene: Hugh LeCaine to Bruce Haack to Jean Sauvageau. The intro and outro theme is an original composition written and performed by members of The Unireverse for Synthumentary. The audio submitted contains excerpts from all three episodes.
    [Show full text]
  • Exploring Communication Between Skilled Musicians and Novices During Casual Jam Sessions
    Exploring Communication Between Skilled Musicians and Novices During Casual Jam Sessions Theresa Nichols MSc. IT Product Design The University of Southern Denmark Alsion 2, 6400 Sønderborg, Denmark [email protected] ABSTRACT [7], thus by ignoring what is out of reach, the learning process This paper explores the use of communication between skilled itself simplifies the instrument as needed. musicians and novices during casual jam sessions within a community of practice in order to gain insight into how design At a certain level of proficiency with an instrument, the might be used to augment this communication and assist novice instrument and musician become one [7]. When an instrument musicians during the process of playing collaboratively. After becomes an extension of the musician's body, the physical observation, color coded stickers were introduced as place- motions necessary to play notes and chords requires less markers, which aided in the communication of instruction. The concentration. Skilled musicians can also feel the music and are learning that took place and the roles of skilled musicians and able to respond with harmonious notes instinctively. Unlike an novices are considered, and design implications of these experienced musician, a beginner who is in the early stages of considerations are discussed. learning to play an instrument does not have this kind of embodied connection to their instrument or posses the same deep understanding of the language of music. When skilled musicians Keywords and novices play together, the skilled musicians can share some of Collaborative music-making, Jamming, Community of practice their musical knowledge and experience in order to help guide novices throughout their collaboration, creating a community 1.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music.
    [Show full text]
  • Hugh Le Caine: Pioneer of Electronic Music in Canada Gayle Young
    Document généré le 25 sept. 2021 13:04 HSTC Bulletin Journal of the History of Canadian Science, Technology and Medecine Revue d’histoire des sciences, des techniques et de la médecine au Canada Hugh Le Caine: Pioneer of Electronic Music in Canada Gayle Young Volume 8, numéro 1 (26), juin–june 1984 URI : https://id.erudit.org/iderudit/800181ar DOI : https://doi.org/10.7202/800181ar Aller au sommaire du numéro Éditeur(s) HSTC Publications ISSN 0228-0086 (imprimé) 1918-7742 (numérique) Découvrir la revue Citer cet article Young, G. (1984). Hugh Le Caine: Pioneer of Electronic Music in Canada. HSTC Bulletin, 8(1), 20–31. https://doi.org/10.7202/800181ar Tout droit réservé © Canadian Science and Technology Historical Association / Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Association pour l'histoire de la science et de la technologie au Canada, 1984 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 20 HUGH LE CAINE: PIONEER OF ELECTRONIC MUSIC IN CANADA Gayle Young* (Received 15 November 1983; Revised/Accepted 25 June 1984) Throughout history, technology and music have been closely re• lated. Technological developments of many kinds have been used to improve musical instruments.
    [Show full text]
  • Inventing Television: Transnational Networks of Co-Operation and Rivalry, 1870-1936
    Inventing Television: Transnational Networks of Co-operation and Rivalry, 1870-1936 A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy In the faculty of Life Sciences 2011 Paul Marshall Table of contents List of figures .............................................................................................................. 7 Chapter 2 .............................................................................................................. 7 Chapter 3 .............................................................................................................. 7 Chapter 4 .............................................................................................................. 8 Chapter 5 .............................................................................................................. 8 Chapter 6 .............................................................................................................. 9 List of tables ................................................................................................................ 9 Chapter 1 .............................................................................................................. 9 Chapter 2 .............................................................................................................. 9 Chapter 6 .............................................................................................................. 9 Abstract ....................................................................................................................
    [Show full text]
  • What Is an Instrument?
    What is an instrument? • Anything with which we can make music…? • Rhythm, melody, chords, • Pitched or un-pitched sounds… • Narrow definitions vs. Extremely broad definitions Tone Colour or Timbre (pronounced TAM-ber) • Refers to the sound of a note or pitch – Not the highness or lowness of the pitch itself • Different instruments have different timbres – We use words like smooth, rough, sweet, dark – Ineffable? Range • Instruments and voices have a range of notes they can play or sing – Demo guitar and voice • Lowest to highest sounds • Ways to push beyond the standard range Five Categories of Musical Instruments Classification system devised in India in the 3rd or 4th century B.C. 1. Aerophones • Wind instruments, anything using air 2. Chordophones • Stringed instruments 3. Membranophones • Drums with heads 4. Idiophones • Non-drum percussion 5. Electrophones • Electronic sounds 1. Aerophones • Wind instruments, anything using air • Aerophones are generally either: • Woodwind (Doesn’t have to be wood i.e. flute) • Reed (Small piece of wood i.e. saxophone) • Brass (Lip vibration i.e. trumpet) Flute • Woodwind family • At least 30,000 years old (bone) Ex: Claude Debussy – “Syrinx” (1913) https://www.youtube.com/watch?v=C_yf7FIyu1Y Ex: Jurassic 5 – “Flute Loop” (2000) Ex: Van Morrison – “Moondance” (1970) (chorus) Ex: Gil Scott-Heron – “The Bottle” (1974) Ex: Anchorman “Jazz Flute”(0:55) https://www.youtube.com/watch?v=Dh95taIdCo0 Bass Flute • One octave lower than a regular flute Ex: Overture from The Jungle Bookhttps://www.youtube.com/watch?v=UUH42ciR5SA • Other related instruments: • Piccolo (one octave higher than a flute) • Pan flutes • Bone or wooden flutes Accordion • Modern accordion: early 19th C.
    [Show full text]
  • Electronic Music - Inquiry Description
    1 of 15 Electronic Music - Inquiry Description This inquiry leads students through a study of the music industry by studying the history of electric and electronic instruments and music. Today’s students have grown up with ubiquitous access to music throughout the modern internet. The introduction of streaming services and social media in the early 21st century has shown a sharp decline in the manufacturing and sales of physical media like compact discs. This inquiry encourages students to think like historians about the way they and earlier generations consumed and composed music. The questions of artistic and technological innovation and consumption, invite students into the intellectual space that historians occupy by investigating the questions of what a sound is and how it is generated, how accessibility of instrumentation affects artistic trends, and how the availability of streaming publishing and listening services affect consumers. Students will learn about the technical developments and problems of early electric sound generation, how the vacuum tube allowed electronic instruments to become commercially viable, how 1960s counterculture broadcast avant-garde and experimental sounds to a mainstream audience, and track how artistic trends shift overtime when synthesizers, recording equipment, and personal computers become less expensive over time and widely commercially available. As part of their learning about electronic music, students should practice articulating and writing various positions on the historical events and supporting these claims with evidence. The final performance task asks them to synthesize what they have learned and consider how the internet has affected music publishing. This inquiry requires prerequisite knowledge of historical events and ideas, so teachers will want their students to have already studied the 19th c.
    [Show full text]
  • Design for a New Type of Electronic Musical Instrument
    Reimagining the synthesizer for an acoustic setting; Design for a new type of electronic musical instrument Industrial Design Engineering Bachelor Thesis Arvid Jense s0180831 5-3-2013 University of Twente Assessors: 1st: Ing. P. van Passel 2nd: Dr.Ir. M.C. van der Voort Reimagining the synthesizer for an acoustic setting; Design for a new type of electronic musical instrument By: Arvid Jense S0180831 Industrial Design Engineering University of Twente Presentation: 5-3-2013 Contact: Create Digital Media/Meeblip Betahaus, to Peter Kirn Prinzessinnenstrasse 19-20 BERLIN, 10969 Germany www.creadigitalmusic.com www.meeblip.com Examination committee: Dr.Ir. M.C. van der Voort Ing. P. van Passel Peter Kirn ii iii ABSTRACT A design of a new type of electronic instrument was made to allow usage in a setting previously not suitable for these types of instrument. Following an open-ended design brief, an analysis of the Meeblip market, synthesizer design literature and three case-studies, a new usage scenario was chosen. The scenario describes a situation of spontaneous music creation at an outside location. A rapidly iterating design process produced a wooden, semi-computational operated synthesizer which has an integrated power supply, amplifier and speaker. Care was taken to allow for rich and musical interaction as well as making the sound quality of the instrument on a similar level as acoustic instruments. Keywords: Synthesizer design, Electronics design, Open source, Arduino, Meeblip, Interaction design SAMENVATTING (DUTCH) Een ontwerp is gemaakt voor een nieuw type elektronisch muziek instrument welke gebruikt kan worden in een setting die eerder niet geschikt was voor elektronische instrumenten.
    [Show full text]
  • 1 HISTORY & AESTHETICS of ELECTRO-ACOUSTIC MUSIC
    HISTORY & AESTHETICS of ELECTRO-ACOUSTIC MUSIC Course After its practical emergence in the late 1940’s, electro-acoustic music became an integral part of 20 th and 21 st century music history. This course will explore the aesthetical, ideological and technical evolution of electroacoustic music in historical context. Instructor C. Barkın Engin E-mail [email protected] Building Fac.of Arts and Social Sci. Room G030 Class Hours Monday / Tuesday 12:40 – 15:30 Prerequisites None Textbooks Chadabe, Joe. 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, NJ: Prentice-Hall. Cox, Christoph & Warner, Daniel. 2009. Audio Culture: Readings in Modern Music. New York: Continuum Manning, Peter. 1985. Electronic & Computer Music . New York: Oxford University Press. Wishart, Trevor. 1996. On Sonic Art. (2 nd edn.) New York: Routledge. Software Audacity http://audacity.sourceforge.net Recommended Emmerson, Simon. 1986. The language of Electro-acoustic Music . London: The Textbooks Macmillan Press. Landy, Leigh. 2007. Understanding the Art of Sound Organization . London. MIT Press. Rules Listening journals, etudes and final project are to be completed by the due date. No late submissions will be graded. Student presentations cannot be postponed. Assessment Attendance 10 %, Assignments & Quiz 20 %, Listening Journals % 30, Final Project 40 % 1 Course Syllabus Week Day Topic Commands, Assignments & Exams 1 Introduction to Aesthetics & Theory Reading: a) Fundamentals of electro-acoustic composition: Sonic continuum a) Wishart, Trevor - Chapter 1 & 2 b) Critical / analytical listening b)Busoni, Ferruccio - c) Modes of listening “Sketch of a New Early Technological & Theoretical Developments I Aesthetic of Music” a) Concise History of Audio recording c)Pratella, Balilla - “Manifesto of Futurist b) Echoes of the industrial revolution 1: The mutation of Musicians” the orchestra: Honegger, Antheil, and Mossolov.
    [Show full text]
  • Typology of Tactile Sounds and Their Synthesis in Gesture-Driven Computer Music Performance
    In “Trends in Gestural Control of Music”. Wanderley, M., Battier, M. (eds). Editions IRCAM, Paris, 2000 Typology of Tactile Sounds and their Synthesis in Gesture-Driven Computer Music Performance Joseph Rovan email: [email protected] InterMedia Performance And Composition Technologies (IMPACT) School of Music Florida State University Tallahassee, Florida 32306-1180 USA Vincent Hayward email: [email protected] McGill Research Centre for Intelligent Machines McGill University, Montreal Canada H3A2A7 Abstract In this paper we outline the fundamentals for a tactile feedback system to be used in conjunction with open- air computer music performance devices. Some underlying physiological and perceptual mechanisms of haptics are examined, some currently available open-air controllers are reviewed, and previous technologies and experiments regarding haptic/tactile feedback are surveyed. Our VR/TX system is proposed as a solution for adding tactile feedback to open-air controllers; experiments show that the VR/TX vibrotactile stimulators provide invaluable perceptually-significant tactile feedback when used in conjunction with an open-air music controller. A typology of tactile sound events is also described, as well as the notion of a tactile simulation event (TSE). 1. Introduction In spite of the ubiquitous MIDI keyboard, the performance tool for many computer musicians today does not fit the piano paradigm. Whether it is a bank of MIDI faders, data glove, video tracking device or biological sensor system, the instrument of choice is increasingly a system that allows for a diverse and personalized set of performance gestures. They are often one-of-a-kind instruments, tailored to the needs of a particular performer.
    [Show full text]
  • MAT 200B F14 Syllabus
    __________________________________ MAT 200B Music and Technology Fall 2014, Tuesday-Thursday 3-5 PM Studio Xenakis, Room 2215, Music Building Professor Curtis Roads, Elings Hall 2203 University of California, Santa Barbara Office telephone (805) 893-2932, [email protected] Teaching assistant: Mr. Aaron Demby Jones, [email protected] Textbook: The Computer Music Tutorial (1996) by Curtis Roads, The MIT Press ________________________________________________________________________________________________ Week 1 Orientation; Historical overview of electronic music 2 Oct Introductions and orientation The legend of electronic music I Assignment Read "The great opening up of music to all sounds," pages 21-62 of Electric Sound by Joel Chadabe. Read “Evaluating audio projects” Quiz 1 next Thursday on the Chadabe text Final project assignment Choose one of three options: PAPER, STUDIO PROJECT, or PROGRAMMING/MAKING, and realize a final project in consultation with the instructor. All projects are presented in class. Here are some possible projects. 1. PAPER Present an historical or technical paper. An historical paper might focus on, for example, a pioneer of electronic music, such as Clara Rockmore, Theremin, Xenakis, Hiller, Stockhausen, Varèse, Bebe Barron, etc. A technical paper should focus on a topic related to digital audio or music, such as audio analysis, digital sound formats, Internet audio, digital rights management, musical feature extraction, high-resolution audio, etc. (10-20 double-spaced pages typical) 2. STUDIO PROJECT USING MULTIRACK RECORDING, EDITING, MIXING The studio project could be original music or a soundtrack for a video project, an audio documentary, audio play, sound art, environmental, or ambient piece 3. PROGRAMMING/MAKING PROJECT Develop software and or hardware related to digital audio and music using Matlab, SuperCollider, Csound, C++, Java, Max/MSP, Python, etc.
    [Show full text]
  • A Brief History of Analog Synthesis Ondioline
    Product Information Document Synthesizers and Samplers K-2 Analog and Semi-Modular Synthesizer with Dual VCOs, Ring Modulator, External Signal Processor, 16-Voice Poly Chain and Eurorack Format ## Amazing analog synthesizer with dual VCO design allows for insanely fat music creation ## Authentic reproduction of original circuitry with matched transistors A Brief History of and JFETs Analog Synthesis ## Pure analog signal path based on The modern synthesizer’s evolution authentic VCO, VCF and VCA designs began in 1919, when a Russian physicist ## Semi-modular architecture named Lev Termen (also known as with default routings requires no patching for immediate Léon Theremin) invented one of the performance first electronic musical instruments – ## First and second generation filter the Theremin. It was a simple oscillator design (high pass/low pass with peak/resonance) that was played by moving the performer’s hand in the vicinity of the ## 4 variable oscillator shapes with variable pulse widths and ring instrument’s antenna. An outstanding modulation for ultimate sounds example of the Theremin’s use can be ## Dedicated and fully analog heard on the Beach Boys iconic smash triangle/square wave LFO hit “Good Vibrations”. ## 2 analog Envelope Generators for modulation of VCF and VCA ## 16-voice Poly Chain allows Ondioline combining multiple synthesizers for In the late 1930s, French musician up to 16 voice polyphony Georges Jenny invented what he called ## Complete Eurorack solution – the Ondioline, a monophonic electronic main module can be transferred keyboard capable of generating a wide range to a standard Eurorack case of sounds. The keyboard even allowed the player to produce natural-sounding vibrato by ## 36 controls give you direct and real-time access to all important depressing a key and using side-to-side finger parameters movements.
    [Show full text]